photography. Alexandra Arnold
In true Marc Jacobs style, subtlety took a backseat as maximalism reigned supreme. Returning to the iconic New York Public Library, Jacobs proved once again that when it comes to fashion, more is more – and bigger is, most certainly, better. Building on the theatricality of his Spring 2025 collection, Jacobs turned up the volume (literally) for his 2026 collection, ‘Beauty’, embracing extreme proportions with unapologetic grandeur. Victorian-inspired silhouettes took centre stage – think exaggerated leg-o’-mutton sleeves, towering bustles, and sweeping trains punctuated by oversized bows – alongside grungy undertones. The message was clear: Jacobs isn’t done with exaggerated silhouettes in the slightest.
Leaving much to the imagination (also not rare for Jacobs), his show notes simply read the definition of beauty as “a quality or combination of qualities that gives pleasure to the mind or senses and is often associated with properties such as harmony of form or color, proportion, and authenticity,” allowing each attendee – including the star studded front row – to interpret the collection in their own way.
A padded nude tank top was pulled and manipulated by a black lace bra and beaded necklaces cinching it in different areas, reminiscent of artist and couturier Michaela Stark’s body morphing art. It felt undone and feminine; the padding jutting from the top and sides as if it were skin trying to escape the torture of an underwire bra. The one fitted lace top was a moment of respite from the almost hunchback shaped tops that preceded and followed, but the bows in either side of the models hair, and classic Marc Jacobs sky-high platform heels allowed for seamless continuity. Layered satin slip dresses with lace trims were placed over bustles, fitted skirts featured oversized swirling padding hems, and trousers looked 10 sizes too big, sitting low on the hips and bunching up at the floor. And, in between, slender lace dresses in pastel shades – some with sleeves, some without – resembled Victorian-style S-shaped dresses.
Really, though, it’s the last two gowns that felt the most Victorian – and vampy. The first, with a similar slender shape, was voluminized with those full leg-o’-mutton sleeves and black ruffles that wrapped around the arms and body, allowing only glimpses of the deep purple that lay underneath. And the second, with even bigger sleeves (if you can believe it), consisted of a purple plaid top with a giant bow just under the model’s neck, a supersized bustle, and black lace cascading from the opening of the skirt.
Transitioning between the pastel palette of pinks, purples, and yellows and the deep purple and black looks was so seamless, it didn’t come as a surprise. Littered through almost every look was a black bow (in the hair or at the back of skirts and trousers) that provided a much-needed contrast to the candy floss-coloured looks. Not to mention the black and white polka dots, black lace with butter yellow peeking through, and pink rose print on a black backdrop that grounded the collection.
In fewer words, Jacobs reminds us that fashion isn’t just about clothes – it’s about spectacle. And no one does spectacle quite like Marc.
Discover the collection here.
words. Amber Louise
photography. Dan Lecca (lookbook) + Alexandra Arnold (backstage)
