30 June 2026 |
Spring 2027 offered up sexy, saturated see-through looks.
Gratitude. It was the sole word that topped the show notes found on each seat at the Marc Jacobs spring 2027 show. Below was a short musing by the designer on how it’s a process to recognize the good things, even when life is at its most uncertain. Wistful yet optimistic, especially in comparison to the bittersweet mood of last season, one cannot help but think that the recent brand news tinged these words. A mere six weeks ago G-III Apparel Group acquired the brand from LVMH though what will be different remains yet to be seen. Even so, change is jarring, exciting, and full of possibility — life in a nutshell, something Jacobs acknowledges.
Whatever the future may bring, it was business as usual at the New York Public Library. As always, a Marc Jacobs show starts on time. WIth a front row that included Julia Fox, Inde Navarrette, June Ambrose, and LVMH’s Sidney Toledano, guests took to their seats and as the clock struck 7:30 p.m., the show began. Consisting of 31 looks with no finale, soundtracked to “Arise” by Isobel Waller-Bridge, it was all over in a matter of four-ish minutes.
And what a packed four-ish minutes it was. Like last season, Jacobs came with his references citing everything from Yves Saint Laurent’s “Love” greeting cards to Bob Fosse’s 1979 film All That Jazz to a slew of runway shows including his own collections for the brand along with his work at Louis Vuitton. Opening with Yasmin Wijnaldum, clad in see-through shirt and trousers, it was sexy and sleek, full of saturated hues offering visual interest. Chanel’s spring 1993 collection, which featured draped chain belts worn over everything from hot pants to skirts to trousers was nodded to as was Prada spring 2007 which saw pants as a mere suggestion to be ignored. In Jacobs’ hands the links were supersized and added a metallic glint to sheer bottoms and short shorts.
With a color palette that included everything from bright yellow to vibrant orange to icy blue, Jacobs nodded towards the similarly vibrant Yves Saint Laurent spring 1993 collection as well as Junya Watanabe spring 1996. The latter also featured a series of vinyl jackets and skirts, layered over tanks that directly influenced the textures seen here. This rainbow also served as a handy tie-in for the return of the brand’s beauty line, the likes of which could be seen in the bold eyeliner and glossy lips worn by models.
Jacobs has shown that he’s not afraid to reference himself and this time he drew from spring 1998 (also a source of inspiration for last season) and spring 2000. Full of clean lines and slim silhouettes, it’s easy to see how they feel fresh again as tissue thin knits and tailored trousers. But perhaps the most fun? The sculptural minis and little dresses at the end, rendered in vinyl and silk that felt like a 2026 update to his Louis Vuitton spring 2009 runway. Youthful and red carpet friendly, it’s a reminder that Jacobs still has that same irreverence all these years.
