“How can you use this in your work?” said Shrink to Patient. “This”being the wistfulness the latter has felt since Hurricane Sandy forcedhim from his home, to which he has yet to return. The answer camethrough Thursday night. “There was just something about comfort andfamiliarity,” Marc Jacobs said during a preview of his fall collectionthat morning. “It’s very simple, very straightforward, beautiful andnice…glamorous, but [with] a kind of sadness and melancholy. There’s aromance to it.”
In fact, this was perhaps the most overtlyglamorous collection Jacobs has ever done, rendered with a moodygentility that transported it far beyond the banal, his invocation of“familiarity” notwithstanding. With forces of nature on his mind, hecommissioned a Stefan Beckman set inspired by Olafur Eliasson’s “TheWeather Project” at the Tate, a huge hot sun that shone intensely on themodels, their off-beat melancholy mein made more so by choppy shag wigsby the brilliant Guido and their slow, ethereal gait as they made twotrips around the circular poured concrete floor, first under the sun’sdisorienting low-frequency light that removed all color, allowing theaudience to see everything only in blacks, grays and an otherworldlysepia. This trip revealed lean, spare shapes steeped in classics —mannish coats, racy briefs, Aran sweaters and Fair Isles and itemsderived from sleepwear: robe coats and pajamas. “There’s been a lot offlus and viruses; I’ve been coming to work in pajamas and sweatpants,”Jacobs said. “I haven’t put on proper pants all season.” There was alsoplenty of shine that broke through the sun shenanigans.
The lightthen changed to something resembling normal, revealing a gorgeouspalette of neutrals and soft colors — dusty pinks and blues, deep, richburgundys and greens. An artful simplicity reigned, starting with thefabrics; no bonded this nor techno that. Rather, Jacobs opted fortraditional materials of the most luxe sort: double-faced cashmeres andalpacas; refined silks ample fur — beaver, fox, mink. By day there werechic skirt looks and fabulous coats including a gray clutch and a robesilhouette that was stellar twice — in blue alpaca and pink cashmere. Asfor the shine, it came via an embroidered fishnet motif on pajama looksscaled down to sensual proportions, and fox-collared tulle jacketscovered in big, loose, light-as-air paillettes, some oversequined gowns,their lanky lines perfect for — drumroll, please — the red carpet.
Asjust about everyone knows, this show was delayed not in the old-school,hour-or-two manner, but from Monday night to Thursday, due to deliveryissues. Some people weren’t happy, and understandably so. Yet those whowere able to change plans — and the room was packed — surely went awayhappy, having taken in a stellar show. Definitely worth the wait.
“I was touched by the fact that she lost her father, really before his time, and it was a real shock. She had two young children, she was married and she was expecting that she would have her own life for a good 25 years,” said Claire Foy about playing a young Queen Elizabeth in Netflix’s The Crown. Styled by @mayteallende 📸@jgreenery #emmys2017 #wwdeyeu
“Truth and lies have become a real interesting theme, more than ever, lately,” Emmy nominee Laura Dern told WWD. "It’s a very interesting time to use our voice." Styled by @cristinaehrlich, 📸 @shayanhathaway #wwdeye #emmys2017
“It transcends the genre that is you think of a sci-fi show — you don’t expect it to be so profound or emotionally riveting,” Evan Rachel Wood told WWD of her Emmy nominated role in Westworld. styled by @samanthamcmillen_stylist 📸 @emmanmontalvan #emmys2017 #wwdeye