To the tinkling strains of a music-box melody, Marc Jacobs unveiled his collection for Louis Vuitton on a bevy of girls sitting atop a carousel of prancing white horses—a wry comment on the current merry-go-round of fashion, perhaps, of which Jacobs himself is a focus of frenzied speculation.
From the prom-queen tiaras that crowned them to their conventional stiletto heels and handbags, vaguely evocative of the Eisenhower era, these girls were brimming with sugar and spice and all things nice—capturing the mood of ironically exaggerated femininity that has swept the runways.
Chez Vuitton, this mood was embodied by the abundant use of eyelet lace forming fields of daisies. To soften the effect even more, these pieces were veiled in sugar-almond-colored organza layers (or misted with shaded ostrich-feather fronds). Skirts were as puffed as Ladurée macarons, the bouffant silhouette starting either from an Empire line just below the bust or erupting at the hip like the party dresses of a 1920s china doll.
Broderie anglaise was used for exaggerated Vandyke collars, and as insets replacing the alternate diamonds on an Argyle knit. It perforated stiff little faille skirt suits and separates made from leather treated to look like scrunched-up sheets of cartridge paper. And in a playful take on the LV logo, it was used for parasols and to aerate clear plastic purses.
Jacobs took delight in treating some classic masculine wardrobe elements to the ultrafeminine makeover—a biker jacket in powdery spring-chick yellow or baby-blue crocodile perhaps, or a sweatshirt trellised in fine silver thread.
The optimistic daisy motif was blown up larger still for with multi-scaled plastic sequins that trembled on some of the prettiest short evening dresses of the season. To emphasize Jacobs’s fashionable volte-face, Kate Moss—last season’s saucy Vuitton dominatrix—was recast for spring as the ballerina on that music box in a gleaming white baby doll frock and Barbie white stilettos.Hamish Bowles
From the prom-queen tiaras that crowned them to their conventional stiletto heels and handbags, vaguely evocative of the Eisenhower era, these girls were brimming with sugar and spice and all things nice—capturing the mood of ironically exaggerated femininity that has swept the runways.
Chez Vuitton, this mood was embodied by the abundant use of eyelet lace forming fields of daisies. To soften the effect even more, these pieces were veiled in sugar-almond-colored organza layers (or misted with shaded ostrich-feather fronds). Skirts were as puffed as Ladurée macarons, the bouffant silhouette starting either from an Empire line just below the bust or erupting at the hip like the party dresses of a 1920s china doll.
Broderie anglaise was used for exaggerated Vandyke collars, and as insets replacing the alternate diamonds on an Argyle knit. It perforated stiff little faille skirt suits and separates made from leather treated to look like scrunched-up sheets of cartridge paper. And in a playful take on the LV logo, it was used for parasols and to aerate clear plastic purses.
Jacobs took delight in treating some classic masculine wardrobe elements to the ultrafeminine makeover—a biker jacket in powdery spring-chick yellow or baby-blue crocodile perhaps, or a sweatshirt trellised in fine silver thread.
The optimistic daisy motif was blown up larger still for with multi-scaled plastic sequins that trembled on some of the prettiest short evening dresses of the season. To emphasize Jacobs’s fashionable volte-face, Kate Moss—last season’s saucy Vuitton dominatrix—was recast for spring as the ballerina on that music box in a gleaming white baby doll frock and Barbie white stilettos.Hamish Bowles
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