Until last February, when a blizzard paralyzed full trunks of Marc Jacobs ready-to-wear, which were being shipped from overseas, Calvin Klein has always closed the New York season. For his last two collections, though, Marc Jacobs forewent his Monday night slot and showed instead at the Armory, six hours post Klein, on Thursday night. This has elicited a comparison that is unusual considering how fundamentally different the design approaches of Francisco Costa and Marc Jacobs are from one another.
If they had anything in common, though, anything at all, it was fringe.
After ten years as women’s creative director at Calvin Klein, Francisco Costa’s Spring/Summer 2014 collection was an anniversary party. In line with the occasions happening in tandem, the clothes seemed like a testament to his tenure — quiet and strong. His geometric skirts, stiff blouses that featured side flaps painted in different colors and Carhartt style wide leg pants were a clear indication that Costa doesn’t need new silhouettes and formats to exist because he’s perfectly fine mutating, deconstructing and reconstructing what he’s got in the current setting. It’s always fresh, but it’s never radically different.
Perhaps the most salient proof of concept here were the sleeveless, side slit sweaters featuring various colored thread fringe and his closing ankle length dresses, which really made me want to dance.
When Marc Jacobs started to explain his inspiration for his collection, he rattled off almost everything any stretch of the imagination could contain (a beachside frat party, Victorian era style dressing, even Burning Man) but forgot to mention what seemed most prominent: highly regal throw pillows and furniture. The expectation with Marc Jacobs, much unlike Costa, is that his progressing collections will bear no similarity to the ones that came before. What’s fascinating is that in reviewing the most recent product of his mental objects, you can always recognize that what’s in the present is better than what’s already passed.
The million dollar question was answered last night when cloaked in a short banged-wig that maintained slight semblance to Lydia from Beetlejuice, Cara Delevingne finally made her entrance at New York Fashion Week. The parallel made sense given the former’s notoriously gothic demeanor and the vibe that ran through the dark collection, which offered a different, beautifully sinister take on the way in which a woman should dress for spring.
I guess that’s the thing about Marc Jacobs — he is always obstructing the way women think they should dress and showing us, season after season, that there is no limit.
…The limit does not exist!