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What is the designation of marc jacobs in 2010
Marc Jacobs Fall 2010 turn the New York Fashion Week into a new look. Marc Jacobs will reveal models in the most elegant and ladylike clothes on his runway at the Lexington Avenue Armory on Monday night. The designer confirmed a longerlength hemline that had been seen as one of the season's likely trends. Marc Jacobs fit out for the occasion in a sharp gray suit and tie and could have escorted any of the lovely ladies in their tweed, suede or boucle coats on a proper date.
There were some suits, including a threepiece menswear plaid one and a grayflannel culotte version. The seats at Marc Jacobs Fall 2010 show and the rest of the set were wrapped up in brown craft paper with one big boxlike structure sitting at the end of the runway. The lights dimmed and everyone scrambled to their seats. The paper (curtain) on the box suddenly got ripped away and behind the curtain, there were 56 models stood and all standing in neat little rows.
Brown wrapping paper, brown cardboard seats, wallpaper and flooring, stapled together, and not a celebrity in sight the message was pure and simple at the presentation of Marc Jacobs autumn/winter collectionat New York Fashion Week at the New York State Armoury.
The vast room was dominated by a 12ft wooden box, wrapped up in brown paper. And as the lights dimmed, the designer himself emerged from backstage to tear the paper away.
Then, as the poignant strains of Juliet Greco singing Over the Rainbow came over the sound system, the contents of the box were finally laid bare: A tableaux of 56 models that was literally as pretty and as powerful as a picture.
The immediate impression was one of gentleness: Soft, cloudlike shades of grey, pearl, parchment, silver, eggshell blue, a hint of lemon. The hair was simple, the makeup almost nonexistent, the silhouettes graceful.
This was not a frenetic, highvolume race through fashion's extremes. This was a demonstration of a designer at the height of his creative powers, showing clothes which spoke their relevance with a whisper.
Refined, oldeworlde, slightly quaint tailoring was the key look, expressed in raisedwaist, Aline, cashmere and wool jackets and coats, often with a hint of the cutaway, with belowtheknee, Aline, seamed skirts, accessorised with little kitten heels and socks.
Shorter spencercut jackets came with long culottes; navy, doublebreasted reefer jackets, with grey flannel skirts. The apparent simplicity of the pieces was an ode to the classic ease of American sportswear, when it is done well: a grey sweatshirting top, for example, notched at the sides to create a riseandfall hemline, over the plainest of grey culottes; or a bluegrey fairisle sweater with matching Aline skirt in chevron wool.
Jacobs tweaked this theme by pairing a silvery, sequinned Vneck sweater, with a uniformstyle, grey pleated skirt; adding sequins and Mongolian lamb trims to a shrugon, wrapover coat; embellishing a little tank with feathers; or dressing cardigan sleeves with sequins.
As the tailoring and separates gave way to dresses and gowns, Jacobs's abiding love of updated vintage began to dominate.
Chevronwool coats and cardigans in grey, topped filmy dresses in layers of lemon tulle and lace. Crepe teadresses were sashed at the back. Highwaisted dresses, in muted pastels, featured long and short sleeves. A long, flecked, grey, jersey gown was crisscrossed, apron style at the back; another, in burnished yellow velvet, came with a Mongolian lamb stole.
Occasional shots of bright lemonlime punctuated the subtle skyscape shades,[url=http://www.floware.fr]michael kors pas cher[/url], such as a knitted, squarecut sweater over a lam, anklelength skirt. 30sstyle, gowns in silvery lame, were pure Harlow, with trains, and ingenious sash, knot and drape details.
Extravagant ball gowns, in daisy and floralprint taffetas, their bodices twisted into giant bows, their skirts falling behind in huge trains, completed the collection.
The references, Jacobs said, touched on Edwardiana, the 1920s, 30s, 40s and 50s, but he had played with proportion and "tweaked" to create the contemporary mood he wanted.

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