75 posts tagged "Marc Jacobs"
Marc Jacobs’ fragrance bottles are almost as legendary as his scents, begging the question, Would Lola smell as sweet without that rubberized flower topper? Or Daisy? Or Dot, for that matter? Probably; the perfumes themselves happen to be quite well conceived, although it’s unlikely that people would proudly display their personal stash of each scent with such gusto were it not for those inventive flacons. Collectors be warned: It’s time to clear a little room on the mantel. Jacobs has just launched his new, limited-availability Sunshine editions—bright, happy interpretations of his classic Daisy and Daisy Eau So Fresh olfactory creations. Packaged with brand-new Spring-festive tops emblazoned with fuchsia, pink, orange, and green petals, Daisy Sunshine boasts notes of red currant, guava, lily of the valley, lychee, and apricot skin with a juice that has been given a golden-tinged quality, while Daisy Eau So Fresh Sunshine has strawberry, apple-blossom, jasmine-petal, violet-leaf, and amber-wood essences and a pink-lemonade color. Spray (and show off) liberally.
Available March 2013 at Sephora stores.
For those of you wondering if the Spring sentiment that sent models to the salon in droves in search of bobs and bowl cuts would return for Fall, the answer appears to be yes. As the shows officially come to an end today, with yet another wig moment at Louis Vuitton, we can confirm that designers are still very much feeling compelling crops. So can Guido Palau. “A lot of people want to see short hair this season,” Palau said backstage at Jean Paul Gaultier, where he was busy trimming “patchwork,” clipped-on-top mullets—a request that he, personally, has been fulfilling with frequency.
It all started at Dior Couture, where the Redken creative consultant gave every girl a convincing pixie cut. Then Palau honed his wig-shaping skills at Marc Jacobs, fashioning an army of Edie Campbells, the Brit It girl he gave a black dye job and a Joan Jett shag for an editorial months earlier. But it didn’t stop there. Sam McKnight picked up the torch at Clements Ribeiro in London, fashioning veritable faux-hawks, a style he reproduced at Fendi in Milan with tight braids accessorized with fox-fur hair pieces a few days later. Next up was Eugene Souleiman’s Rei Kawakubo tribute at Yohji Yamamoto, for which he replicated the Comme des Garçons designer’s architectural black bob, and the stunning pin curls Luigi Murenu designed for Riccardo Tisci’s breathtaking Givenchy collection. Then Karl Lagerfeld got in on the act at Chanel, ordering up colored, similarly graphic hats that sat on top of McKnight’s “done but not done” center-parted strands, thus creating a deceptively short silhouette on top of a long one. This morning, Palau brought it full circle, giving every one of Jacobs’ Louis Vuitton models—Kate Moss included—a “fifties, sort of French Left Bank” bob that was heavy on the mousse for an out-all-night effect.
The season’s overarching punk undertones may have had something to do with the wealth of conceptual cuts that made it onto the runway; nothing captures the subculture’s DIY attitude quite like lopping off excessive length. Suffice it to say, if you’ve ever considered parting ways with your long locks, now would be a great time to do it.
Edie Campbell has had a few memorable runway turns—many of them opening ones—at some of the season’s biggest shows thus far. But if you had to do a double take when you saw her at Marc Jacobs, or at Burberry and Christopher Kane, you were likely not alone. The same Edie Campbell with the heavy, Anita Pallenberg fringe and the long flaxen layers who starred in Spring campaigns for Burberry and Saint Laurent?, you may have been asking yourself of the girl with the black mullet-y shag. They’re one and the same, it turns out, thanks to the transformative cut and color Guido Palau gave her before the shows started, which has proved pivotal to the season since. Palau shouted out Edie as one of his reference points for the wigs every girl wore at Jacobs’ acclaimed presentation in New York, while Campbell herself continues to score big bookings, at least partially, because of the crop. “It’s a bit different, but it feels more me than the long hair,” the Brit It girl said of the style while backstage at Jil Sander yesterday, admitting that she doesn’t really even think about it as that drastic of a change anymore. “The novelty wears off,” Campbell said. Telling us that she plans on sticking with her short-hair persona for a while, there is one thing she’ll have to start considering: grow-out. “I haven’t really thought about roots at all!” Campbell revealed, explaining that she hasn’t gotten a color touch-up since her initial dye job a few months back.
Jil Sander was Campbell’s one stop in Milan, but she’ll be in Paris, she assured us. Where, exactly, she couldn’t say—”I don’t want to count all of my eggs before they hatch, but there ought to be some good ones,” she joked. For now, though, the full-time art-history student is back in London before heading to Seville to do some research—then to Paris. “It cuts out how much time I spend in the makeup chair,” she says of life as a matriculated model.
Last season, the chin-grazing crop wasn’t so much a trend as a phenomenon. Karlie Kloss may have gotten all the attention when she turned up to the Victoria’s Secret show in November, her mousy brown hair a few inches shorter, but Aline Weber, Ruby Aldridge, and Daria Werbowy had already blazed the edgy, chopped trail for Spring. It’s been interesting to watch hairstylists deal with models’ newfound affinity for short hair. For the most part, they have been content to let the girls with cuts walk without extensions, a rare move that bucks uniformity on the runway. But in a few other more telling instances, they have chosen to take everyone short—make that shorter. Following Guido Palau’s sprinkling of pixie dust backstage at Dior Couture in January, wispy boy cuts and shags have been making waves at the Fall shows. Ruby Jean Wilson started the season with a freshly shorn gamine style, while the shag that Palau gave British It girl Edie Campbell before the collections has not only earned her top billing at shows like Burberry Prorsum, Giles and Marc Jacobs but also inspired the army of impersonators Jacobs sent down his Fall runway. Add to this the floppy coif Swedish stunner Ellinore Erichsen sported at Christopher Kane and Sam McKnight’s recent masculine faux fringes at Clements Ribeiro, not to mention the shows’ overarching punk undercurrents, and there seems to be a new lustful length in town. We’ll see if it holds up in Milan and Paris.
The mind-altering orange light and army of “sweaty,” Joan Jett-inspired shag wigs were only part of the story backstage at Marc Jacobs last night. Also causing a commotion: the debut of a few choice pieces of Marc’s forthcoming, first-ever beauty range, for Sephora. “They’re brand-new and only here tonight,” Jacobs’ longtime manicurist, Elisa Ferri, boasted of the two bottles of nail lacquer she held in her hand. The packaging itself is something worth talking about. Flat, wide, and oval, it looks like nothing else on the market. But the formulas are also worth noting, Ferri insisted. Shiny, the clear top coat models wore on their fingers last night, was custom-created with special polymers to have a shocking gloss value at the personal request of Jacobs, who wanted it to resemble the custom coffee table he has in his home that is shellacked with thirty coats of lacquer. The other shade on view, Jezebel—a dark garnet that models wore on their toes—”has incredible payoff,” according to Ferri, who claimed that she got full color coverage in just one coat. The varnishes will join Jacobs’ large-scale rollout of cosmetics when the line launches at the beauty emporium this fall. Thoughts on its first big reveal?