It’s a heavy, sweeping fringe with Edie Sedgwick eyes and a power-brow.
2 Through the keyhole
I say 1960s beatnik – Jacobs refuted such obvious inspiration. Bare skin, however, was a prominent and recurrent theme, with enough flashes of buttock to sink a battleship. Critics heralded it as the return of sex to the catwalk, yet it was an exploration of all things optical, such as this keyhole design, that Jacobs was primarily consumed with. Illusion created by geometric shape was the central, encompassing vision for this collection.
3 And the stripes?
Coming to that now, silly. You see sometimes new trends are quiet, sly little things that sneak up on you slowly. At other times, they’re about as subtle as a sledgehammer. The monochrome stripe spread quicker than norovirus this year, with the high street cashing in on its wearability, and lines have become our go-to look for work and play.
See previous point on stripes, above.
Black flats with a thin bow and a toe so pointy-sharp it could severe cold butter. You’ve got a wardrobe full of ballet pumps? Bad luck.
A collection of Ss: the 60s, Sedgwick, stripes and sex. Yet while many praised Jacobs for bringing sexy back, I’m not sure the carnal references weren’t more of a subplot. More intriguingly, for a designer known for pushing the weird and wacky, this was disciplined, almost to the extent that you could hear Jacobs humming along to Queen’s One Vision. Here was a designer urging us to toe his (fashion) line. Which we promptly did.