themarcjacobs themarcjacobs

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Marc Jacobs 

HAIR TEST (about hair)

The first phone call about the hair for the show happens 2-3 weeks prior to show date. It starts with the brilliant @guidopalau calling @kegrand, my long time collaborator and person I trust most when it comes to all aesthetics regarding the image and spirit of the girls, “look” and the aesthetics of the actual show (environment/mood, music,etc..more on that soon). Katie communicates our various thoughts on the collection and specifically any hair style references. Eventually, I am passed the phone and do my best to articulate what Katie has already said... And so the process begins! Shortly after we meet with Guido and @sandyhullett they take it all in, have a look at fitting pictures, inspiration boards, fabrics, colors- everything. Then, as was the case this time, they begin to do some “trials” on a model (often while busy doing other things). Katie and I have a look at what’s been done, give feedback, talk to Guido, talk to Sandy... and then then a few days later the actual hair and make up test officially begins. Part of the showroom (show work space) is transformed into a salon.... Hair cuts, hair color @joshwoodcolour , hair pieces (switches),make up chairs @diane.kendal @marcbeauty and a manicurist from @jinsoonchoi all on the ready for the RUNWAY 9.12.18 MARC JACOBS ‘makeover.’ In our case this is always a very long process. It takes days of trying, thinking, tweaking re doing...not to mention a dozen or more very willing, and extremely patient models. Ultimately it’s finding the perfect balance between the hair/hair colour/hats/and make up. I always prefer a range of characters whose hair styles differ but project the same idea within their variety. That, in terms of haircuts, meant shaved heads, the “egg” and the “egg with ponytail”. Natural colors as well as the extraordinary antiqued pastel hues created by Josh Wood. For our Fall/Winter collection, together @joshwoodcolour and @guidopalau cut and brilliantly colored 9 Girls This season we broke all our prior records and they colored, and cut, dyed switches to match... an incredible 33 heads!! Hair raising!!!! Video by @1.800.newbold

Where do I even begin with @stephenjonesmillinery ? We met each other for the first time in 1986 as we were both invited to participate in a “young designer” show in Tokyo called, The Fashion Quartet. Enough history. We have collaborated on so many Louis Vuitton collections and even more of our Marc Jacobs collections. The discussion this season began months ago when dear Stephen reached out to both @kegrand and myself and asked, “are we doing hats this season?” Katie and I discussed it and thought we were really more into the idea of everyone cutting and/or coloring their hair (as if). As weeks passed and I became more confident that the idea of the Spring/Summer collection was that it was our Fall/Winter collection, re-imagined in pretty pastel and sherbet colors, that it would lose the aggressive edge of Fall and gain a transparent, light, ruffled and flounced appearance...pretty, twinkly, and light. With some time I thought maybe we should do some boaters in straw rather than Fall’s black felt. I sent Stephen a few images that I liked (as is always the first step) and then we talked. “Only 15 hats and please can we make them in pastel metallic straw.” Hats from Stephens archive were sent over to show me different crown heights, brim sizes along with swatches of various types of straw. That was the beginning. The re-proportioning of the hat, the particular method of sewing the straw around in circles, and the extremely involved process of plating, lacquering and re-plating the boaters came next. In between I had become obsessed with veiling...sent some sketches and images and got an education on a woman in Oregon who had bought out the remaining supply of exquisite French veiling and nets... Stephen, Julia snd Miki arrived in NY on Sunday evening before the show and a good size area in the showroom where we were working became Stephen’s temporary, exquisite ‘millinery atelier away from home.’ A look starts at the foot and finishes with the head (more about that soon). A Stephen Jones hat is always the ‘cherry on the cake’ of each look they top! Video @1.800.newbold

While all the show prep which has been going on for the past 6+ days (looks /fittings/hair tests: cutting/dying and make up tests, casting, go-sees, veil making, shoe, knits, and jewelry delivery’s) are happening up on our 9th floor, what’s happening on our 7th floor was started back at the end of June and continues to the very last minute. @scampisamuel and @jessie_jingci_wang begin with doing trial samples and swatches of everything from finishings, embroidery samples, beading, trim trials, feather techniques, draping and creating abstracted flowers and flourishes for neck scarves and waist sashes, as well as ideas on fabric manipulations, etc...while they literally have their hands (and all rooms) filled with all of that, in a smaller room off the design room, the fittings of toiles and protos are going on under the creative supervision of Creative Director @mathewjosephcarter and his right hand woman Design Director @ladiamond1010 along with the patient and thorough assistance of @rom_scott and the wonderful (temporary) assistance of @meryllllllll This is where they see the first attempts of the patternmakers to realize the sketches and ideas we have passed. Thru a long, and challenging back and forth process we fit these toiles and corrected toiles on @crispiccone who is very inspiring and patient. Right outside the fitting room door sits @laaaalala who organizes, manages, orders, and tracks everything for sample finishings (and more). She is joined and helped by @ohwowmartha All of this begins slowly at the end of June and picks up speed and accelerates at a faster pace as the show grows nearer. All of it right up to the very last minute. It’s a huge amount of creative work, problem solving, sometimes requires a few sets of creative minds and eyes, trials, errors, editing and retrying. We could not do this on our own. We are extremely fortunate to have an incredibly talented and hard working army of interns in all departments to help out with this and all the other various jobs all the way thru the process. It never ceases to amaze me how creative, clever and devoted everyone is to making everything happen. As perfectly as possible.

Figuring out looks without the jewelry, bags, shoes, knits or CLOTHES!! So, this part of our process occurs when most of the fabrics have arrived and very few or none of the clothes are finished or in their actual fabrics. The who’s involved? That would be me, @catherinegwong Fabric Director (and sometimes bearer of bad news), the lovely, efficient and multi tasking @rynest0ne and usually (but not always) @kegrand. What happens? We use a couple lengths of elastic, a hand full of silk pins, a couple of safety pins and half a yard of each of the fabrics and drape them on our looks model who in this case (this season) is the lovely and super patient @camiyouten. This usually begins about 5 days before fittings and continues until the very end. By doing this I can easily envision the look and advise specifically what silhouettes to cut in each fabric. This helps a lot to prioritize the sewing of duplicated garments and minimize the working on anything we might not use for the show. I really enjoy this part of the process and couldn’t ask for a more helpful (and patient) team than Catherine and Ryne as I like having them weigh in, they recall all I suggest and they deal with my endless indecision so well. I’m a nocturnal being so they are terrific at helping me until the wee hours of the night. Video montage @1.800.newbold

And now a little bit (or a lot) about costume jewelry or bijoux de fantaisie as the French call it. This department is very small Chez Marc Jacobs. It basically consists of @nicoleghosn and @oulan.zf Some seasons I’m sure I don’t want to show jewelry and other seasons I want to show a kings ransom of it. This season being the latter. After personally walking around in Chanel jackets and Chanel jewelry and reading the book on Loulou de la Falaise earlier this summer I loved the thought of our girls with face framing earrings, big bold rings on every finger, chokers, necklaces, and bracelets! We started looking at gorgeous transparent fire polish beads in beautiful water colors. Nicole strung them up in different forms and shapes. Some of the protos would later go on to @goossens_paris who would give them his twist and flourish. They all arrived a few days before our show and they were both pretty and pretty dazzling. I also was in love with the idea of huge chunky over the top resin rings with semi precious stones. I was crazy inspired by an image from an old Vogue that convinced me we should interpret it our way- after Nicole taught herself thru tutorials on working with resin, she made her own molds and formed protos inspired by real jewelry, resin jewelry and some rough sketches I gave her. She packed them off to Paris. We sent her color stories out of transparent and opaque plastic chips thanks to this incredible @pantone system. Then the amazing resin atelier at Desrues worked under Nicole’s guidance to finesse our fantasies et voila! We had our gorgeous rings!! I had a blast with @kegrand baubling, bejeweling and trinketry-ing many of the looks during the models final fittings. (Let out a deep breath here). It’s a pleasure and a privilege to be able to work with those amazing French ateliers. It was one of the great habits I had formed during my Vuitton years. Thank you again Nicole. You really out did yourself! Video @1.800.newbold

A total look starts from the ground up! We always start our process of choosing/designing fabrics, picking colors, and talking about shapes/silhouettes for RTW and at the same time begin discussing the above as it applies to shoes. We usually begin with vintage shoes as the first step to tweaking lasts (the form and silhouette of the shoe) and changing heel shapes and construction to arrive at something new and “ours” that maintains a vintage spirit. Never big on the idea of avant-garde, it’s a fine line between “new for us” versus too modern and ‘new’. @annabarberrioja rejoined us in her new position as Design Director of Shoes. Shoes. With the help of @magpax @officeofwerk @virginiaserapioni and ‘gets shit done’ @eclair132 Giuseppe Baiardo who has done over 90 collections with me (including the early years at Louis Vuitton) handles all things technical and a true longtime collaborator with heart and SOLE! Cinderella’s never need to worry about losing their slippers this season! Video @1.800.newbold

Every season I push the limits with the bag team(s). As with most collections the accessories and handbags in particular are the biggest part of the business. I’m extra proud of our updated snapshot bags with all ceramic hardware and those molded out of a ‘jelly’ like rubber. So cool!! As for our collection bags seen on the runway, I am thrilled. They are fantastic shapes, they are clean sleek (lined in cotton candy colored pink suede!), small in size but large enough for all the essentials - phone, keys, credit cards, etc. I haven’t felt this strongly about our runway bags in a long time. They really turned out beautifully. Congratulations to my entire bag team for doing an extraordinary job!!! Thank you @ileniamai @ssy2706 @reikokatakura, @whiskeysuite, @toryh2525 and we missed you @crisquintana Video @1.800.newbold

Ever since the day my grandmother taught me how to knit, sweaters (and ‘knits’) have been a big part of my life and collections. @lzaccheo is the head of collection knits and works miracles every season. I’m so grateful to her, @skallsopp and @staceymtester and all the factories who stand by us, work weekends, nights and make it all happen and do so beautifully🙏🏼❤️ Video @1.800.newbold

During 24 hours of non stop, back to back stressful fittings it’s important to keep things light. The “You Look Lovely- SEAL OF APPROVAL” paddle helped to keep spirits high, and, add a touch of humour. @kegrands barking and the applause of the girls and the ‘audience’ didn’t hurt either! Video @1.800.newbold

I wanted to post my apologies for our late start before sharing anything more about our Spring/Summer 2019 show. What I hoped to begin with is what I did not have the time to express in our program notes.
I have always been transparent about the fashion designers who inspired me to become a fashion designer, the designers whose brilliance has and continues to inspire me and most importantly, the team of designers who I have worked with closely for the better part of two decades - without them, I am nothing.

My list, in alphabetical order:

Bill’s, Bill Blass

Stephen Burrows

Roberto Capucci

Coco’s, Chanel

Karl’s, Chanel

Karl’s, Chloe

Rei’s, Commes des Garcons

Romeo Gigli
Hubert’s, Givenchy

Norma Kamali
Miuccia’s, Prada

Perry’s, Perry Ellis

James Galanos

Roy Halston Frowick’s, Halston

Stephen Jones

Thierry’s, Thierry Mugler

Norman Norell

Yves’ Yves Saint Laurent
Stephen Sprouse

Angelo Tarlazzi

Valentino’s, Valentino

Pierpaolo’s, Valentino

Vivienne Westwood


The color sense and hand of Genieve Figgis’ paintings

Last and most important, once again, Creative Director Joseph Carter, Design Director Emily Diamond and the dedicated, faithful and talented designers who work with us along with Danuta Denuree and the entire atelier.

I sincerely apologize to anyone and everyone who was inconvenienced by my lateness at our Spring/Summer 2019 fashion show.
For anyone interested, below is not a list of excuses but rather a list of facts. I fully understand people have plans, lives, commitments, flights, families to return to, etc and that I fully RESPECT.

I’ve heard, read and reflected on your frustration, anger and outrage. If you choose to read the below, I hope that you can find your own place of understanding.
1. The night before the show at midnight, I believed that we would absolutely be starting at 6pm, as planned and it was my intention to do so.
2. At 3:30pm on the day of the show, I became aware that we would most likely be an hour late. In good faith and hope it was communicated that the show would start at 630pm and that was a mistake.
3. After years of being beyond punctual and once again, with every intention of remaining so, the fact is, more is always expected from us with fewer and fewer resources. That is not unique to me personally or us as a company. I have learned that I need to adjust to our realities.
4. It was my wishful thinking that we could accomplish all that needed to be done for this show with the circumstances we faced. I was wrong. Not because everyone didn’t make every effort or give it their all and more, life is just that way sometimes. I’ve always been told that, “if you want to make God laugh, tell him your plans.” With our shows, I always strive to present 7-10 minutes of live fashion theatre that hopefully makes some kind of statement or touch the audience in some way both aesthetically and emotionally. I think we all have to be a little more sensitive and flexible to the fragile state of the live experience.
I hope anyone reading this will reflect on my thoughts as I have on yours. 
Sincerely and respectfully,


Sisters 2018. @genievefiggis @halfgallery This painting makes me feel happy!! Opening Wednesday, September 12 @halfgallery

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