For the past five years, Marc Jacobs, once hailed as New York fashion’s savior and the visionary behind Louis Vuitton’s resurgence, has steered clear of creating genuinely wearable clothing. His recent collections, showcased since the pandemic halted traditional runway systems, have largely consisted of abstract, high-concept pieces.
These designs often featured exaggerated shapes and whimsical proportions, evoking imagery of paper dolls, Alice in Wonderland, or distorted Victorian aesthetics. Fashion, for Jacobs, seemed less about practical attire and more about theatrical performance or an artistic statement.
His shows, presented exclusively to a supportive hometown crowd before the official New York Fashion Week, have often been viewed as self-indulgent. With collections sold only at Bergdorf Goodman, the past few years saw his work drift into increasing irrelevance, seemingly detached from the desires of actual customers.
This made Monday evening’s Marc Jacobs show a startling revelation. Attendees were met with an array of surprisingly classic and wearable pieces: tweed pencil skirts, tailored trouser suits, elegant V-neck sweaters, and versatile car coats. The collection also included more playful items like sequined tube tops, micro-miniskirts, ruffled blouses, and timeless slip dresses.
The collection featured intriguing details, such as pencil skirts with unique, pocket-like waistlines that jutted out from the hips, and coats meticulously buttoned up the back.
Miniskirts, another key component, were artfully styled to sit high above the natural waist, creating a look more akin to traditional Japanese obis than conventional skirts.
While seemingly conventional, Jacobs couldn’t resist adding his signature playful twists. The pencil skirts, for instance, were cut straight across the hips, creating an architectural silhouette where the waistline extended outwards, almost like a conceptual, pocket-like opening for hands.
Similarly, miniskirts were dramatically raised above the natural waist, appearing more like artistic adornments than typical garments. The collection also showcased sheer pencil skirts, offering a glimpse of the underlayers, and two impeccably tailored coats that fastened elegantly up the back.
The influence of iconic designers like Prada, Helmut Lang, and Yves Saint Laurent was evident throughout the collection. Jacobs openly acknowledged these inspirations in his show notes, playfully listing them under “credits and receipts”—a clever, appreciative nod.
Predominantly, however, the collection served as a powerful homage to Jacobs’s own illustrious career. It echoed his groundbreaking haute grunge collection for Perry Ellis in spring 1993, which brought him widespread recognition (and ironically, his dismissal), alongside nods to his seminal fall 1995 and spring 1998 lines. Even his 2003 Marc by Marc Jacobs collection, a precursor to the popular contemporary line Heaven by Marc Jacobs, found its echoes.
This retrospective journey underscored Jacobs’s immense historical influence. Unlike many of his New York contemporaries, he possessed an uncanny knack for capturing the prevailing social and cultural zeitgeist, translating it into fashion that resonated deeply. This unique ability, transcending any particular silhouette, was the defining characteristic of his work, imbuing both him and his wearers with a palpable connection to the present moment.
His shows were legendary events, and he famously transformed public figures like Victoria Beckham, Miley Cyrus, and Kendall Jenner from merely popular to undeniably “cool” simply by welcoming them into his creative universe.
Yet, Jacobs no longer inhabits that influential space, having seemingly retreated from it. Perhaps he grew disillusioned with the industry’s direction, or simply exhausted. It’s possible his focus shifted inward, away from external trends. Regardless, his former position remains unfilled, and while this collection offered a fascinating look back, one can’t help but wish he would fully re-engage with the present. That, however, seems improbable.
In his show notes, Jacobs provided a poignant reflection on themes of “memory” and “loss,” contemplating fundamental questions about identity, creation, legacy, and what endures through time.
The future of the Marc Jacobs label remains uncertain, especially as LVMH, the French luxury group that owns it, recently saw negotiations to sell the brand to Authentic Brands Group (owners of Reebok and Juicy Couture) fall through. Remaining part of the conglomerate for now, this precarious position undoubtedly prompts the designer to reflect deeply on his enduring legacy.
A striking symbol of this introspection was found at the Park Avenue Armory venue: a small oil painting by Anna Weyant, commissioned by Jacobs just a week prior. It depicted a daisy—the namesake of his most successful perfume is called Daisy—with half its petals delicately plucked and pinned to the canvas. This artwork served as a powerful metaphor, leaving viewers to ponder whether it represented a legacy preserved for eternity or one destined to fade away.