"Listen, sister, when are you going to get wise to yourself?"
It's kind of hard to pin down the references here - and there are always references with a Marc Jacobs collection. One of the things that makes him so interesting is his tendency to veer wildly off in unexpected directions with each new collection. There's no slow, organic evolution of of the Marc Jacobs aesthetic; it changes as rapidly (and almost as often) as the weather. The man who gave us an explosion of Studio 54 satins in eye-searing colors just last season sends out a collection of body-hugging business-like silhouettes with elements from the '30s, '40s, '50s, and '60s. There are pencil skirts and below-the-knee hems; peplums and broad shoulders. There are slightly boxier-looking '60s-style separates and to top it off, the models wear the kind of jaunty little beret caps one would see in a stylish '30s "women's picture." Unsurprising, since George Cukor's 1939 classic The Women is a stated inspiration of Stephen Jones, who made the hats. Even if the references span the decades, there's definitely that feel with this collection of a fast-talking New York City thirties dame on the make, Rosalind Russell-style, coupled with the cooler femininity that characterized the '50s and '60s.And like a 1930s high society melodrama, the richness here is occasionally illusory. Everything looks luxurious, but Jacobs used such materials as PVC, rubber, and polyester. We love the giant paillette skirts; the structured jackets and coats; the rich combinations of color and, surprisingly, the use of lace, which we normally hate. We also love the ankle boots, but we're not sold on pairing them with socks.
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