The carousel that team Louis Vuitton set up in the Louvre's Cour Carrée
was echt Marc Jacobs. The designer has made an art form of the fashion 180.
Last season's fetish-y rubber boots sold 2,000 pairs in the first week they
were available, Jacobs reported, but he was ready for a change nonetheless.
"After the hardness of Fall, we wanted something gentle and kind, fragile
but strong, too," he said, touting the workmanship that went into not only
the clothes but also the bags. Matte crocodile coats painstakingly
hand-pieced together so that the scales match; an eggshell lacquer bag made
with the assistance of the last man in Paris still in command of the 1920's
technique. That sort of devotion to craft would come in handy were Jacobs to
land the top design spot at Christian Dior and the couture atelier that
comes with it. No?
If anyone wondered whether Jacobs wants that
gig, his pavé diamond wishbone necklace (a good luck charm, he called
it) sealed the deal. Same goes for the clothes. Squint and you could see the
vague outlines of Dior's New Look "Bar" suit in a minty green checked cotton
nylon jacket and skirt. But it wasn't quite as literal as all that. What
lingers about the collection is just how sweet it was—everything
candy-colored and much of it trimmed with big lacy collars or oversize white
buttons. Broderie anglaise dresses came veiled in pastel shades of organza;
laser-cut lace tops and skirts were sealed in silk cellophane—the
suggestion being, perhaps, that the contents were too precious to be
unwrapped. After an interlude of matte crocodile motorcycle jackets that
fell short of edgy in their icy pastel colors, Jacobs affixed 3-D plastic
paillettes to dresses with crystals and embellished tweed skirtsuits with
The fashion merry-go-round keeps spinning, but
there was one constant with his Fall show: Kate Moss was the last girl
standing on the runway. We don't know yet if this was Jacobs' Vuitton
swan song, but just in case, might as well make the parting shot count.