“You did it first,” wrote Marc Jacobs in a tender Instagram post honouring Vivienne Westwood in the wake of her passing in December of last year. He chose a black and white portrait of the designer and “godmother of punk” sporting her signature platinum peroxide-blonde pixie cut, while wearing a crisp white oxford emblazoned with the words: “Be reasonable, demand the impossible.”
Marc’s latest collection, returning to The Park Avenue Armory after a three-year hiatus, marked his continued refusal of the collective calendar. While historically, his shows have been the focal point of NYFW, his most recent offerings surely seem to benefit from the breathing room afforded by showing off-schedule. Presented a week before shows officially commence, this felt like the master of ceremonies taking the stage to start the conversation — opening remarks, if you will.
Guests — including Emily Ratajkowski, Nicky Hilton, Ashley Graham, Debi Mazar and 70s New York icon Debbie Harry of Blondie — walked into a hushed room plunged in complete darkness, relieved only by a slim sliver of hazy light revealing a simple row of chairs. Show notes revealed this sober tone was meant to shape the setting for “Heroes,” a tribute to Westwood and her pioneering visions. “Fashion is life-enhancing, and I think it’s a lovely, generous thing to do for other people,” read a quote from Westwood on the final page.
As solo violinist Jennifer Koh played the first notes of Phillip Glass’ “Einstein on the Beach”, models began their procession down the runway in Marc’s now-signature Kiki boots, shuffling slowly, as these shoes require that each step be deeply intentional. Scholars of fashion canon will remember Naomi Campbell’s legendary tumble from atop similar platforms at Westwood’s AW93 show, after which she arose triumphantly to finish the show.
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Punky pixie wigs and bantu knots served as constants throughout the collection, punctuated by ample winks to Dame Viv, including Mikimoto pearls, voluminous bustiers and butt-hugging bustles. Cream, khaki, and military green knits were sculpted into shapes suggesting breasts and nipples, an interpolation of Westwood’s “tit tops” from her 1981 pirate collection. The neutral palette opening the show evolved into waves of sharp colour through fire alarm red, magenta and neon chartreuse strapless gowns rendered in romantic crushed velvets and feathery furs. There were dramatically deconstructed skirts, sprinkled with patchwork, subdued plaid, and oversized coats. One in particular, in keeping with the semiotics of DIY punk culture, was styled flipped upside down, while others were worn with the sleeves tied around the back. A utilitarian aesthetic carried throughout, weaving cargo pockets into a majority of the looks, while whimsical polka dots and a smattering of sequins played joyful counter-notes.
“With the turn of another season, in our endless search for value, importance and possibilities,” wrote Marc in the show notes, “it is through these collections that we continue our ever-expanding notions of beauty and craft.” Looking forward into a fresh year, and a transformed world, this show underscored the urgent need for both young heroes with new ideas and the wisdom of our ancestors.
Credits
Images courtesy of Spotlight