September 12, 2010 New York
First and foremost, this collection was about color. In other words, it was one of Jacobs' signature 180s—an exuberant departure from the neutrals of his serene Fall lineup. He opened with an Eastern-inflected coat in an electric orange print, with belled sleeves and an obilike belt. The model, newcomer Luisa Bianchin, wore a huge fabric flower in her red frizz and heavy eye makeup that called to mind the imagery of Guy Bourdin. More prints, on silk now, followed for halter dresses and strapless jumpsuits slit high enough on the thigh to reveal the models' briefs. (Sorry, breast men, the bust's brief resurgence as the reigning erogenous zone looks to be over already; 2011, we promise you, will be the summer of the hot pant.)
There was a satin interlude, an ode to Missoni's zigzag knits, and voluminous peasant dresses with a Rive Gauche air. The girls wore gold glitter platforms, and carried clutches or chain-link shoulder bags small enough to fit comfortably in their hands. Their wide-brimmed straw hats were straight out of Taxi Driver. And yet Jacobs was mostly in control of his potentially lurid subject matter.
The seventies have been in the air for a couple of seasons now. You can already find long dresses and denim flares here and there on Broadway's fast-fashion strip, but none in the materials Jacobs uses—double-face voiles, gauzes, etamines. And none that are half as seductive.