(Marc Jacobs Fall 2012)
The History of the Marc Jacobs hat is a journey that has been with Jacobs' persona through his line. The accomplished designer has used hats to express his ideas and visions into his collections. While also pulling the reigns at Louis Vuitton since 1997, and progressing the couture line with his collaborations with artists such Takashi Murakami and Richard Prince. The work of Marc Jacobs has become a recognizable work of art within the world of fashion. The hat adds to the telling of the story the collection is expressing.
(Marc Jacobs SS09)
(Marc Jacobs FW09)
(Left to right: Marc Jacobs SS11, LV FW09)
(Left to right: Louis Vuitton FW11, LV SS08)
Whether it's "Marie Antoinette" - (Fall 2012), "Mary Poppins" - (Spring 2009), highly paid escorts - (Fall 2011,Vuitton), eerie/artsy nurses (Spring 2008, Vuitton in collaboration with Prince) they all seem to complete the looks. Imagine how differently the collection would be seen without the hatwear.
The hats in the Fall 2012 collection MAKE the looks and bring a certain image from the hat as an accessory to a main attraction of the outfit. Jacobs' styling with looks is impeccable and the way of pairing pieces with looks can create a look with 7 complete pieces involved.
(AND IT WORKS!)
Only true artists can see their vision for what it is.
Bold colors, big hats and scarves, and the always play on print on print is there and always on point in flattering the female figure while staying sophisticated at the same time.
NEW YORK, February 13, 2012
By Nicole Phelps
Marc Jacobs earned his reputation as New York fashion's consummate showman and then some tonight. The set was spectacular and huge. Dreamed up at the designer's request by his friend, the artist Rachel Feinstein, the construction paper folly looked like a broken castle. "Marie Antoinette's version of ruins," she said. A pretend fountain was perched halfway down the curving runway. But we weren't in eighteenth-century France. Seventeenth-century Plymouth Rock meets the twenty-first-century street-style scene is more like it. Jacobs' models wore pilgrim shoes, of both the flat and stacked heel variety, affixed with giant rhinestone buckles. And their wild outfits, the designer said backstage, were inspired by the likes of Anna Piaggi and Lynn Yaeger, fashion eccentrics of the first order and mash-up artists long before the Sartorialist arrived on the scene. Piaggi has never gone anywhere without a hat, and Jacobs had some doozies on the runway. Made of multicolored mink, they tilted this way and dipped that, like something out of Dr. Seuss. The getups were just as off-kilter: Wool stoles were buttoned over wool coats worn on top of patchwork skirts above cropped pants. Colors were all over the map; prints ranged from oversize paisleys to floral pencil doodles, and holographic appliqués dripped off dresses. Tinsel turned up everywhere. And volumes, in marked contrast to his strict, severe collection of a year ago, were turned up, too. Padded hips? Prepare yourselves, ladies. It was fearless, just like Piaggi, Yaeger, and co. And it made you fall in love with fashion and Marc Jacobs all over again.
