Right. He seems to excel in undoing and redoing reference points — be they pleated skirts, twinsets, settler prints, or prom dresses. Which of his reimagined classics are your favourites?
My particular favourites are his reimaginings of prim and proper – the reworked classic boucles (Spring/Summer 2005) or the suppressed sexiness of the pussy bow blouse and pencil skirts (Autumn/Winter 2004) – and latterly his play with proportion – his eccentric Edwardians (Autumn/Winter 2012) and tribute to gothic and Gaga (Autumn/Winter 2016). From the start Jacobs has always put a skewed spin on things.
New York Timeswriter Guy Trebay once noted: “The front row of a Marc Jacobs show provides a snapshot of where, at any particular time, as a culture, we find ourselves.” — What informs this special talent for capturing and expressing the zeitgeist?
Jacobs is one of the most tuned-in designers, he soaks up and immerses himself in culture – both high and low. This has informed his aesthetic. He surrounds himself with equally tuned-in creatives, his friends and collaborators who fill his front row. Jacobs has now himself become part of the American pop culture that he once idolised from afar as a teenage fan.