#SuzyNYFW: Marc Jacobs And Boss – Exquisite Drama Meets Elevated Simplicity

Marc Jacobs: Couture Power

The exquisite drama of pitch dark, illuminated briefly by twin spotlights from the ceiling high above – that was the spirit of the Marc Jacobs’ show that closed the New York season.

The clothes were equally dramatic: roomy coats in lush fabrics, or shorter with A-line shapes. For a few seconds in the spotlight came a puffed evening gown and a small hat with a feathery decoration.

A traditional tailored coat sliced off at the knee and a bright yellow evening gown were both equally dramatic reflected in the mirrored floor.

Yet there was a sense of intimacy in the small area, with relatively few onlookers in the gigantic space. Two seasons ago, Marc Jacobs first showed his fascination with haute couture, in that case a re-interpretation of Yves Saint Laurent in haute mode – big hats and all.

For this autumn/winter 2019 season, the spirit was nearer to Valentino: graceful clothes and gentle tailoring, respectful to women, but with giant gestures. They included coats shaped as if by a compass, circling the body, capes with an animal skin pattern and the same puffed-up shape for a dress with pink flowers smothering the surface.

Featherwork alone created an airy glamour that seamed nearer to Paris than Manhattan. So did the chic hats by Stephen Jones. Yet the celebrities waiting for a second show suggested that Marc Jacobs has found an American following.

This peaceful elevation of fashion from a designer once on the wild side was a beautiful ending to New York Fashion Week.

Boss: Sleek Elegance

‘Boss Curated’ was the name given to the sharply tailored but soft, coats for both sexes and other highly elevated city wear that formed part of the autumn/winter collection.

It was as though Boss designer Ingo Wilts had decided to make a statement about purity, stripping the clothes to the minimum and presenting them on a hard silver runway in a giant shed beside the waters.

The urge for stylish simplicity has been growing since the Celine brand was abandoned by designer Phoebe Philo. But Boss has always taken this clean-cut line, softened by the quality of fabrics and by some quirky and artistic visions. For example, three-tone trousers in shades of beige, worn with a furry coat that also had pale, painterly horizontal lines.

The problem with offering this elaborated simplicity is that it really needs to be appreciated close-up. But the graphic lines worked well as a theme – for both sexes. When colour appeared, it showed up first in the men’s clothes, which were suddenly dashed with shocking pink. The women’s line followed suit.

But the most impressive female dresses were in white satin pouring gently over the body – definitively the curator’s choice.