Hats. It was a hat moment at Marc Jacobs this afternoon. XXL caps or stuffed beanies, some knitted, added an extra 7-inches on to the model’s heights. Not that they needed it. But we do. Call it the new Cuban heel. The hats were there because the theme of Marc’s AW17 show was early hip hop – the stuff that MJ saw when he was at art school in NY, and has recently piqued his interest after watching a documentary about it on the tele. Because really, what says hip hop, or should we say hip hop dressing in particular, more than an backwards facing cap? Apart from maybe a tracksuit, but that was here too, in red, fitted on the top and loose on the leg with go-faster stripes that ran down each side. Marc called this kind of dressing the original streetwear. And this was his ode to it. “It is acknowledgment and gesture of my respect for the polish and consideration applied to fashion from a generation that will forever be the foundation of youth culture street style,” read the release. And hip hop royalty was within sniffing distance of the single row of chairs that ran the length of the Armoury, in the form of Lil Kim who was poured into a gold leather jacket situation, and was, from what we can see, properly loving it. Think of this as part B-girl, part Jackie Brown. Tones of camel, brown and maroon – touches of shaggy fur with mini dresses beneath, flared corduroys, hoodies that fastened with giant gold zips. Zips that matched with the also quite large gold chains that had mice pendants on them, modelled by Marc himself as he ran down the catwalk at the end of the show. And, Pied Piper like, he led us not out the door we had come in but the back entrance, where the models sat in the sun with a giant block of speakers behind them. Where better to finish one’s streetwear inspired show than on the street itself? Especially when that street is Park Avenue. So well done Marc on another great show. Each time the love gets stronger. With that, over and out from the Big Apple. We’ll see you in London!
by Jack Moss
Photographs by Jason Lloyd Evans.