Marc Jacobs - 2003 S/S to 2009 S/S Women RTW - Conclusion

We come up with the following conclusions:

1. MJ is using more hues these years.
2. achromatic colors : black, white and grey must be present in each season's collection
3. a simple combination is adopted. for each outfit,the no. of colour is usually not more than 3.
4. MJ likes to use artificial colors.
5. MJ uses colors of high saturation every season, but the amount decreases in recent seasons.
6. Spring and Fall colors are related. the colors used in Fall collection are usually the colors of spring collection in a lower value ( with shade).
7. there is a trend that MJ tends to use colors in lower values.
8. MJ loves lavender , violet, brilliant red, turquoise, yellowish brown, khaki. they almost appear in every collection. BLACK, WHITE, GREY are the must.

Marc Jacobs - 2008 S/S & F/W Women RTW - Comparison with competitor

2008 Christian Dior Fall /Winter

Colour: Shocking Red, Shocking Pink, Sharp Orange, Sharp Purple , dark Turquoise, yellowish-khaki , black, white

fabrics : Satin, Fur, Silk

comparison : both of the collection involved a lot of black and white, while grey is the color that Jacobs always love. MJ still sticked to the pastel colors while CD tried some sharp colors.Christian Dior 2008 S/S

Color used: Shocking red, pastel turquoise, khaki, brown, shocking orange, black, white

fabric: silk, satinpattern: leopard skin, zebra skinc

omparison: both of MJ and CD use pastel colors in soft fabrics to create a feminine soft figure.it seemed that pastel color and soft figure was the trend of the season.

Marc Jacobs - 2008 Women RTW - Overall colour analysis

Here is a summary of colours of MJ 2008.

More is coming up! ( the shades of black and grey and metallic colors )

Comparing S/S and F/Wsome of the colors like turquoise, lavender and pale pink are repeated used,this kind of colors give a feeling of softness, comfort and femininity.Khaki are often used, too.the color of the 2 collections are quite similar actually. Except that in the F/W collection there are some metallic colors.

Marc Jacobs - 2008 S/S Women RTW - Color Analysis 2

One more pointed noted is that, marc jacobs displays the color of the same hue but different values in the same outfits. and throughout the collection, hue of different values and intensities are used in the outfits, usually in a small portion, decorating a black majority. violet and turquoise are mostly used.

Marc Jacobs - 2008 F/W Women RTW - Color Analysis

Although it shall be a cold winter, Marc Jacobs 's F/W collection appears that it shall be a warmer one. i do not know if it is because of the global warming problem, but it must be related to his S/S collection. Pastel color of both warm and cool colors: orange-pink, khaki, lavender, violet, turquoise and orange-red.

just like the S/S collection, black are often used with grey in various shade.grey in different shade in one outfit creates layering in a subtle way.

An image of formality, simplicity and elegance is moulded.but even if the majority is grey or black, MJ added bright colors to accessories and shoes.

The outfit is thus more playful.


Apart from pastel colors, metallic colors are also used.golden and silver color, some mixed with a bit of brown dark blue and grey, make the costume shiny and spendid.

Marc Jacobs - 2008 S/S Women RTW - Colour analysis 1

The first impression was that the collection was based on black and white. Iit was like a sheet of total white or black, decorated by colors, like a painting. Different styles emerge: simple elegance, royalty, playfulness...just depends on which colors appeared on the ' painting'! The decoration of a red heart at the bust.

Floral printing consisting of various colors

As the show was going on,more colors were coming on stage.adjacent complementary colors were used: redish violet x lavender x yellow in pastel form

Analogous colors were used : e.g turquoise matching pale yellow

Marc Jacobs - 2008 F/W Women RTW

Reference:http://www.style.com/fashionshows/review/F2008RTW-MJACOBS/

NEW YORK, February 8, 2008
By Nicole Phelps

"We're ready, we're ready to start the show." That was Marc Jacobs himself, addressing the audience from the stage (stage, not runway) at 7:11 p.m. At 7:17, as Kevin Federline was still taking his seat in one of the makeshift, nightclub-style VIP booths not far from Selma Blair, Gretchen Mol, and Helena Christensen, Sonic Youth struck the first dissonant chord of "Jams Run Free," and Jacobs' first model walked out past the band. She wore a shawl-collar pouch-back coat in a shade that looked like camel, although we can't say for sure, concert lighting not being the best kind to illuminate such details. (One thing was immediately clear—whether he shows on a Friday or a Monday, it's always going to be an event.)

The day switch and that revolutionary mere-17-minutes-behind-schedule start time weren't the only changes since last season. If Spring was all about sex, overt sex specifically, this show—his old friend Kim Gordon's gyrations notwithstanding—had a willfully sedate quality.

Afterward, when asked about his inspirations, Jacobs replied, "I really wasn't very inspired this season. I just live my life." OK. When pressed, he offered a few more words: "Calm. Glamour. Casual. Beautiful women." Vague as that sounds, it was in fact an apt description for a collection that hinted at the eighties of Jacobs' early days in New York. It was there in the puffy headbands the models wore around their foreheads and the clubby atmosphere inside the Armory (some said it gave them Regine's, though the set's menacing scaffolding and the unsettling black-and-white images that played on a screen behind the band also suggested a more downtown environment). And it was there in the palette of soft pastels and grays and the relaxed (in terms of shape, not sensibility), somewhat masculine cut of the classic clothes.

Jacobs showed plain-front button-downs with straight skirts; almost preppy popcorn-knit sweaters with narrow shorts; a cashmere sweater that spelled out HARDCORE paired with baggy leather pants; and a thigh-length bomber over a full, shin-grazing skirt. But his big focus was jackets and coats, many of which came with vertical folds of fabric gathered in the back above wide, hip-slung sashes. Dresses, too, came with pronounced volumes at the back. For evening, their stiff folds were replaced by gold or silver lamé pantsuits (paging Loulou de la Falaise) and drippy bias-cut velvet gowns.

Was this collection, in its relative tameness and intriguing air of sexless safety, a rebuff of sorts to last season's detractors, who reprimanded Jacobs as much for his off-the-wall collection as for his perennial lateness? Could be. These clothes are challenging for different reasons than were the difficult transparent pieces he featured for Spring, but they'll be no less coveted. As for the show's accessories, women everywhere will have Jacobs to thank when other designers follow his lead and start producing a lower heel. That's the power of Jacobs' mystique.

Marc Jacobs - 2008 S/S Women RTW

Reference:http://www.style.com/fashionshows/review/S2008RTW-MJACOBS/

NEW YORK, September 10, 2007
By Nicole Phelps

At 11 p.m., precisely two hours after his official starting time, Marc Jacobs surprised his audience by running out onto his Stefan Beckman-designed set for a quick bow. Next came the music, Ravel's Boléro, and out filed the models in finale formation. Then here was the first girl (or rather the last, because by now it was clear this extraordinary show was unspooling backward, starting with look 56 and running down to one). She wore a "silly-string guipure gown," her satin under-things peeking out and her heels perched on top of her "too-small pumps." Behind her, an image of the model in nothing but the bra and panties she wore underneath her outfit was projected on two large screens.

Jacobs collaborated with the video artist Charles Atlas to create the film that played simultaneously with the show. They shot the piece Sunday evening, and Atlas spent the whole night in the editing booth finishing it. As for the clothes and accessories, they were just as off-kilter and knock-your-socks-off as the production, with a bonkers surrealist streak. Trompe l'oeil underwear decorated georgette slipdresses, the heels of pumps protruded not from the heel at all but from the ball of the foot, and three-dimensional quilted leather bags were grafted onto square totes. Transparency was a key theme, too: Cashmere sweaters were inset with sheer panels at the waist, and reconstructed black bugle-bead evening dresses came suspended from their nude linings. Gimmicky? You bet. But also fascinating. If you want normal or tame, you're going to have to look on a different runway. Even the suits came with hip-high slits—though, this being Jacobs, the effect was just as often gawky and awkward as it was provocative.

So what was it all about? With most of the models in varying stages of dishabille, Jacobs appeared to be saying something conceptual about the process of getting dressed—or getting undressed—but he was typically vague backstage. "It's cartoon versions of all the women I know—conservative types, vamps, everybody," he allowed. From the looks of two number-emblazoned team-jersey T-shirt dresses that appeared on his runway, there are footballers' wives in the designer's inner circle along with all of those rockers and artists. One thing's for certain: He's moved on from last season's bourgeois austerity. This sublime performance was about sex, which is one of the reasons why we couldn't look away.

Marc Jacobs - 2007 F/W Women RTW - Details

Marc Jacobs has a full range of Fall/ Winter collection in 2007 and continued showing his flavour in vintage.
This time, he has chosen to bring 70s back on stage again. Those hats, long coats, ribbed sweaters, trousers with loose stirrups and last but mot least, the jumpsuits, were fancy stuffs of that time. However, when they were in the multi-colours and matching the super-slim silhouette, new images were emerged.

According to Nicole Phelps, Marc Jacobs said that the collection is a reflection of his personal life and feeling, called it restraint. Therefore, sharp colours are less and the proportion of black & grey increased. Those sharp colours in the collections were all tertiary colours in the red and the yellow hues. There are mainly orange, dark red, dark purple and yellowish orange.
Following are part of the collection. The main colour being used are picked out.



Main Colour Board for the FW 2007 Collection

Marc Jacobs - 2007 S/S Women RTW

Reference:http://www.style.com/fashionshows/review/S2007RTW-MJACOBS

NEW YORK, September 11, 2006
By Nicole Phelps

Pachelbel's Canon, even Brian Eno's version, isn't the sort of music you expect at a runway show. And a bucolic backdrop of rolling hills behind a catwalk that, in turn, was painted lawn green and elevated over a river of mint candies isn't the kind of setting you see every day of fashion week, either. But Marc Jacobs has such a surfeit of cool, he got away with both—and then some—at a spring show that was strangely beautiful (as ever), if a little esoteric.

Backstage, he was mum on literal inspirations, speaking instead of "light, kindness, peace, and generosity." The light part made a sort of sense. Jacobs' palette consisted of white, cream, black for contrast, and ombréd grays, with flashes of brilliant holographic sequins. And from a shirred tulle bomber jacket with a furlike appearance to a drop-waist tiered lace dress that evoked Poiret, there was a certain romance to the collection. Layered jersey tees, billowing brushstroke-stripe silk dresses, and deconstructed à la japonaise cashmeres had an appealing softness.

But was there substance beneath the whimsy? Many of these clothes—the Arabian Nights harem pants, for example, or the tulip pants that he showed unbuttoned up the side—will be a hard sell. On the other hand, the trio of understated-by-comparison T-shirt dresses and the bags—metallic leathers and exotic skins studded with crystals as big as the bulbs on an old Times Square marquee—should keep the faithful happy. Those items are the grounding forces that allow Jacobs to indulge his flights of fancy.

Marc Jacobs - 2007 F/W Women RTW

Reference:http://www.style.com/fashionshows/review/F2007RTW-MJACOBS

NEW YORK, February 5, 2007
By Nicole Phelps

When the red velvet curtain finally opened, Marc Jacobs' 56 models were arrayed tableau vivant-style in front of an enormous set of French doors—the kind you might see in a Paris salon. What you noticed first were the hats. Multicolored, with knit crowns, and short or wide brims, they made the gangly teenage girls onstage hold themselves like proper ladies. Yes, fashion's favorite change agent was at it again.

Last season's billowy layers were nowhere in sight. The collection began with a long coat, ribbed sweater, and trousers with loose stirrups that gave them a clean, sharp line. Moving on, Jacobs showed printed satin and matte jersey shirtdresses to the mid-calf, and belted alpaca tunics over slim cropped pants and knee-length skirts. There were jumpsuits straight out of the seventies. "I wanted something narrower," said the designer, describing the show's new silhouette. Duchesse satin minidresses were cut trim and A-line with a fringe of pleats at the hem, or they came draped, wrapped, and sashed from the shoulders.

This was American sportswear, but with a European sense of impeccability. Some might call it "grown-up." Jacobs, explaining that the collection is a reflection of what's going on with him personally, called it restraint. (Though the term can hardly be used to describe the show's stacks of plastic bangles and Bakelite-heavy handbags.) One look at the designer and you're reminded that he's been spending time at the gym—those were pecs beneath his crisp blue shirt. The experiments with volume that he's been focused on in the last several collections have now gone the way of his extra weight. It might take a season for designers who've followed his lead before to catch on. But less, when it looks this chic, really is more.

Marc Jacobs - 2006 S/S+F/W Women RTW - Comparison with compeitor

Christian Dior 2006 F/W

Color:black,white, dark brown, crimsonmetallic colorsfabrics:leather, silk, satin, fur

Comparison: when CD focused on several colors, MJ seemed to stick to his favourite grey and black throughout the whole collection. the color for MJ were softer and more comfortable for eyes while those of CD were more eye-catching and metallic.

Christian Dior 2006 S/S

Color: flesh color, champagne, pinkish purple, yellowish khaki, brown,yellowish green, pale purple, orangefabrics: silk

Comparison: both of the collections used soft fabrics such as silk. and both flesh color and khaki were used. nevertheless MJ were fond of Navy Blue and tried some metallic color such as silver.

Marc Jacobs - 2006 S/S and F/W Women RTW - Comparison

Although in S/S the color were softer, both of the collection tended to use cool colors in dark shades. Colors used in S/S were repeated used in F/W, e.g. black, grey, white, military green, brown, khali and red. It appeared that MJ was quite fond of those colors. since the theme of the two collection were a bit related (both revolutionary), the color choice were related as well.

Nevertheless, the 2 collections gave different feelings on runway. Guess why, it was contributed much by the background decoration. In S/S it was fancy purple and pink which made the atomsphere cherish and feminine. In F/W it was grey and dark, and it made people feel formal, cool a little bit grunge.

Marc Jacobs - 2006 F/W Women RTW - Analysis

"It's about the places I've been, the people I know, world leaders, and winter," MJ said. Many people said it was about grunge though, a reprise of the seminal collection that lost him his job at Perry Ellis back in 1992. well, we never know, but the colors simply created this feeling.

The checks of khali, brown and bluish grey make the pattern classics and young.Dark shade of grey, greyish blue and brown were used, matching sometimes with metallic boots or crimson skirt to make it revolutionary. the overall collection was so grey.

In match with dark military green, metallic brown and leopard print of bright yellowish-brown and black. Leopard print of shocking pink and black was also used too.the complementary matching of khali, military green and white was good-looking and harmonious and down-to-earth.

Marc Jacobs - 2006 S/S Women RTW - Analysis

The theme of the 2006 S/S collection was teenage angustit started by a series of student uniforms in deep blue and and white. Much deep blue are used in jackets, one-piece matching black pants or shoes. It was followed by what he called ' blown-up american classics'.deep blue matching grey,red matching grey, matching of different shades of grey...etc

The colors used in the whole collection were mostly darker in shades.military green was used , matching brown and khali. Apart from different shades of black grey and white, golden and silver colors were often applied .

The color especially noticed included pale greyish violet and champagne color.

In this season, deep blue, black, grey , military green, khali and brown were the main colors, while gold, silver, yellow, white, and red being the colors of accessories, or supporting colors.

Marc Jacobs - 2006 F/W Women RTW

Reference: http://www.style.com/fashionshows/review/F2006RTW-MJACOBS

NEW YORK, February 6, 2006
By Nicole Phelps

You know this much about Marc Jacobs: You never know what he'll do next. Replacing the Nittany Lions marching band and his spring parade of high-school good girls gone bad were Philip Glass' symphony Heroes and a troupe of vagabonds in muted layers of plaid flannel, oversize knits, skirts worn atop pants, legwarmers, and tams whose cumulative effect was paradoxically chic.

When pressed for details backstage, Jacobs was vague. "It's about the places I've been, the people I know, world leaders, and winter," he said. The one word he didn't use, though it was uttered by many in the audience, was grunge. Was this a reprise of the seminal collection that lost him his job at Perry Ellis back in 1992? Jacobs wasn't saying. But you saw elements of it in the flannel that was repurposed as strapless dresses, the sweaters that dragged along the knees, and the pants that were so puffy they looked as though they required their own hand pump. (Somewhere, Kal Ruttenstein, the man who famously championed that controversial collection and to whom Jacobs dedicated this show, was smiling.) Come evening, the designer's gorgeous urchins wore black net and metallic sequin dresses distressed to the point of tatters. In the midst of all this were eminently functional, not to mention desirable, coats, capes, shawls, and jackets. And, of course, superluxe bags; this wouldn't be a Jacobs runway without them.

Jacobs is making a habit of 180-degree reversals—gloomy one season, polished and upbeat the next, and now, for fall, disheveled once again. It's remarkable how a man who claimed post-show that he "didn't know what to do" can be full of such captivating ideas.

Marc jacobs - 2006 S/S Women RTW

Reference: http://www.style.com/fashionshows/review/S2006RTW-MJACOBS/

NEW YORK, September 12, 2005
By Nicole Phelps

When the clock struck 8 on Monday night, Marc Jacobs, his clothes, and his models had been in the ready position for a good half hour. As waiters passed around chilled bottles of Perrier, the designer's publicists joked that, in a break from tradition, it would be the editors and retailers who held up the show (for this season, at least). And what a show it was. At 8:25, after the last of the fabulous and tardy scooted in (yes, Lindsay Lohan and Lil' Kim, we're talking to you), the Penn State Blue Band marched onto the runway and broke into a rendition of Nirvana's "Smells Like Teen Spirit" that had everyone dancing in their seats.

It's the fifth time the designer has included the iconic song on his runway soundtrack. Why the repetition? "Because it's the anthem of teenage angst," he said backstage. The designer, well beyond his teens, doesn't have much to be angsty about these days, but he's never met a girl who smoked in the school bathroom who he didn't like. The show started off with a series of uniforms, and if Snejana's black gabardine jumper and white cotton shirt spelled teacher's pet, Anouck's windbreaker and pleated skirt with net slip peaking out from underneath spelled troublemaker. From there, he moved on to what he called "blown-up American classics": Pea jackets, cashmere sweatshirts, and cuffed shorts were, like his voluminous Fall clothes, quite literally blown up, and looked puffed with air.

After his directional fall collection, this Spring show could've been deflating. But Jacobs seemed determined not to let that happen. Showing slow-dance-appropriate silvery party dresses (several falling in tiers of lace or lamé to the floor) and then releasing a cascade of glittering confetti made everyone in the house—jaded front row included—feel like prom kings and queens for a day.

(INCOMPLETE!!)Marc Jacobs - 2005 F/W Women RTW - Details

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Marc Jacobs - 2005 S/S Women RTW - Details

Close up of the collection

Special pattern is frequently used on knitted fabricpattern is constructed by deep and light colour from the same colour group

Tartan is used

the colour construction is white with one primary colour (eg blue, red)

Stripes are used

colour construction is complementary colours

special materials are used which creates a glittering effect

dark colours (eg. black) are used

associated with little white colour

special pattern are used

vivid atmosphere is created

single colour is used with special garment contruction

Colour Wheel

Marc Jacobs - 2005 F/W Women RTW

Reference: http://www.style.com/fashionshows/review/F2005RTW-MJACOBS

NEW YORK, February 7, 2005
By Nicole Phelps

Backstage after his show, in between greeting such well-wishers as Rachel Feinstein and Debbie Harry, Marc Jacobs rattled off quite a list of talking points, from T.J. Wilcox's Garlands installation at Metro Pictures to Violet, the sullen superhero teenager of The Incredibles, to Edward Gorey. Toss in some "fashion editors in their minimalist black periods and Romeo Gigli shoes," and you have an approximation of his wide-ranging fall collection. It was quite a ride—made all the more surreal by a one-and-a-half-hour delay—and a much darker one than last season.

The show started off on a somber note with nubby black jackets and midcalf-length navy skirts that floated mysteriously around the models' legs, as if they'd been pumped up with air. Volume, and experimenting with it, became a recurring motif. Trapeze coats swung from shoulders; floral-print dresses ballooned behind Vlada and Lily as they tromped down the runway; and one moiré dress tented out beneath a chevron-striped mink coat. Another theme was embellishment. Rosettes adorned everything from the bust of a strapless velvet dress to a tweed muffler; tattered collars decorated jackets; and cardigans and knit caps were veiled with lace. But despite the parade of party dresses, some in black point d'esprit and others with flashes of colorful silk, it wasn't all girly, all the time. There's room in Jacobs' story for a tomboy or two, and they were dressed the part in rugby-striped sweaters that brought his grunge collection to mind.

Overall, however, these were clothes for girls who lead fairy tale lives, and quite a few of them—Uma Thurman, Drew Barrymore, Lisa Marie, and Lil' Kim included—were on hand to enjoy the spectacle.

Marc Jacobs - 2005 S/S Women RTW

Reference:http://www.style.com/fashionshows/review/S2005RTW-MJACOBS/

NEW YORK, September 13, 2004
By Janet Ozzard

Jennifer Lopez, Lil' Kim, Steven Tyler and daughter Liv, Perry Farrell, Kate Hudson, a few off-duty models, and both Olsen twins. Marc Jacobs may have the most exciting front row of New York's Fashion Week, but he doesn't let it distract him from the work at hand—as his electric Spring collection proved.Jacobs sent out supersaturated, eye-delighting tones like parrot blue, azure, yellow, hot pink, and royal purple, often in the same outfit.

With his irrefutable confidence, Jacobs can make colors that might ordinarily be at odds seem perfectly natural and a perfectly chic combination; an azure cardigan with a deep-navy brocade skirt, or a navy and white polka dot cardigan over fuchsia trousers. And in a season of hues that sometimes border on the anemic, it felt like a trip to the tropics.Jacobs put those shades to work in first-rate sportswear that's destined to influence the look of the streets next spring.

He showed extra-full trousers worn low with wide white belts, rolled to mid-calf and paired with teetering spectator pumps. Those, and the swirly, swinging skirts, were balanced on top with boxy jackets and coats, or skinny little knits layered in various color and pattern combinations. His dresses, which hung loose from the shoulders and barely grazed the body on the way down, were shaped with meandering seams and often worn atop fluffy petticoats. And for those party moments, he reprised the shredded-and-stitched organza ruffle dresses of last year, this time decorated so densely they looked like the plumage of a bird of paradise.

Marc Jacobs - 2003 S/S Women RTW - Details

In this collection, opposites play important roles. Sweet and softness meet the hard edge and generate the interesting silhouettes.

To conduct dramatic contrast, colours are well-chosen, too. For example, soft pink, lavender, pale yellow, orange, chartreuse, and ivory are chosen for under boxy jackets and sexy camisole tops. For even greater contrast, soft, airy fabrics are used to against dense ribbed ottoman, nubby, and others.

Comparing this collection with the F/W 2003 one, there are many simular main colours, like light grey & dark grey, black & white, and light purple.

If the 2 collection are compared to the F/W 2007, it is clear that Marc Jacobs still use those main colours in the latter collection and add more colours from different hues, like those from red hue.
the main color board:

Colour wheel:

Marc Jacobs - 2003 F/W Women RTW - Details

Marc Jacobs kept on his colourful style in this season and giving audience crashes with high satuation colours.The inspiration of this collection is punk rock, with overt references to the sixties space-age. The colours, orange, blue, beige, white, pink, violet, and red really give people a strong visual splashing effect. Orange, blue and white is a non-original combination conducts a space-age feeling and makes people imagine a space shuttle which made of artifical materials. Moreover, the smash of colours is even more serious to highlight the theme of punk rock.

Comparing to the S/s2003 collection, the values of colours are relatively higher to give a warm and solid feeling to wearers.

The main colour board:


The colour wheel:

Marc Jacobs - 2003 F/W Women RTW

Reference :http://www.style.com/fashionshows/review/F2003RTW-MJACOBS

NEW YORK, February 10, 2003
By Janet Ozzard

The Marc Jacobs collection is a high point of the show calendar, and not just because the designer's front row is always packed with celebrities (this time: P. Diddy, Liv Tyler, Kristin Davis, Claire Danes, and regulars like Michelle Hicks, Anna Sui, and Helena Christensen). Jacobs has firmly established himself as fashion's bellwether, with an audience that looks to him to pluck out the prevailing trends and decree them relevant.

This season, Jacobs is clearly feeling very mod. His show, set to churning punk rock (X-Ray Spex's "Oh Bondage" kicked off the soundtrack), was a color-splashed paean to pop, with overt references to the sixties space-age designs of Courrèges, Paco Rabanne, and Rudi Gernreich. Minidresses and jumpers in various patchwork combinations of orange, blue, beige, white, pink, violet, and red came dashing down the runway, detailed with felted seams and circle pockets and worn with contrasting hose and sweet little pumps. His silver fur-trimmed parka and boxy wool jackets are destined to displace the peacoat as next season's must-have outerwear.

Even the evening looks kept the beat. Jacobs showed black and white satin minis with piped seams, as well as a few literally swinging dresses featuring ropes of giant sequins or slashed fabric sewn into a drooping bell. It was cheerful and chock-full of energy and color; but all the literal references to past fashions verged on re-creation, rather than the renewal for which Jacobs is justly famous.