With its metallic striped floor and Rorschach shapes
carved into the mirrored backdrop, the set by
Glaswegian artist Jim Lambie had a hard sci-fi sheen.
And the soundtrack was one of composer Philip Glass's
exercises in monotone ethereality. But, insisted Marc
Jacobs, "This isn't futuristic, this is NOW!"
According to the designer, the collection had none of
those fashion-history references he loves. In their
place was a curious hybrid of high touch and high tech
(making Lambie the perfect visual complement).
Chinchilla and nylon vest, anyone?
Extremes of real and synthetic defined the clothes.
Here a streamlined tailored wool suit or a wool and
cashmere topcoat, there a nylon parka over bronze
nylon trousers. And everywhere, that fur and nylon
combination. City and ski-slope came together in
outfit after outfit. Almost as frequent as the nylon
was plush alpaca "teddy-bear" fleece. In coats, it had
an extreme cuddliness that reflected this collection's
only obvious reference point: There was an undeniable
hint of cartoonish manga in the exaggerated
As for the accessories, shoes too went from one
extreme to another, either Cuban heeled boots or a
stolid hiking style. And this time round, the bags
that built Vuitton included a chevron-printed carpetbag, though waiting lists are more likely to
form for the sleek ponyskin tote—or perhaps the chinchilla earmuffs that Jacobs himself sported when he took his bow.