Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
Mood board: Marc Jacobs went back to doing what he does best for A/W: sumptuous clothes dripping in crystals, fur and a twisted sort of sophistication. The beading had a 1930s flavour, as sweeping skirts were buttoned up with 19th century proprietary, while transparent skirts had a sultry naughtiness.
Finishing touches: Structured, small bags underscored the lady-like mood, but were off-set with subversive dominatrix-like, over-the-knee, block heeled boots that gleamed in black patent leather.
Scene setting: Stefan Beckman wrapped Jacobs' show space in massive panels inspired by Jeremiah Goodman's paintings of the interiors of legendary New York fashion editor Diana Vreeland's home.
