Marc Jacobs’ spring 2026 collection served as a serious moment of reflection, balanced not only by his restraint in design but also his seasonal message, which paid homage to his late friend, “Louis.”
“Memory. Loss,” Jacobs’ show notes read. “Surfacing on their own, memories shape, influence, and inform. Free from nostalgia, recovering the past also reminds us that loss is inevitable and that hope is work. Memories, both bittersweet and beautiful, are a faculty of purpose influencing current and future actions — who we are, what we create, what we leave behind and what we carry forward.”
Amid the sociopolitical turmoil surrounding the world, fashion is seemingly finding itself back to celebrating everyday wardrobing — the little joys, perhaps. Jacobs is no stranger to cutting the most extravagant of dresses but with spring, a side of the designer was on display that hadn’t been seen in a while. Now that Jacobs is firmly in the LVMH Moët Hennessy Louis Vuitton stable, for the time being, after the collapse of talks to sell the brand to Authentic Brands Group, he proved he really can still do it all.
For the first time, his very personal notes also included a “credits and receipts” page, citing references spanning from Yves Saint Laurent couture 1965 to his notorious grunge Perry Ellis spring 1993 offering and ‘90s Helmut Lang, to his own Marc Jacobs and Marc by Marc Jacobs collections spanning the ‘90s to now.
The fact that Jacobs included the exact collections that continually enrich his own work is a move that many dare not to make, which only makes his clothes more powerful. Separately, how fun will the post-show vintage hunt be?
Miuccia Prada’s spring 1996 inspirations, among others cited, came through simple V-neck knits and skirts in menswear checks and tweeds, but here, Jacobs’ bottoms played into his knack for reworking the mundane, with restraint and repetition at the forefront. While streamlined and disciplined, the silhouettes still played with new proportions via his ultra-straight, drop-waist skirts that stiffened slightly, sitting off the waist.
There were ample ‘90s codes, updated for the now, via Helmut Lang-esque minidresses, Jacobs’ own skirt suits, curly hair scrunchies and X-girl miniskirts, paired with playful shimmering sequined tube tops. From his ruffled blouses and sheer skirts to backward coatdresses, Jacobs’ clothes balanced the bittersweet he was seemingly feeling, which resonated through his mature lineup.
But while the collection may have been sparked by Jacobs’ bittersweet sense of loss and memory, it left one feeling full of hope for fashion with a capital F.
