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The 3 Most Buzzed About Shows From Day 5

It's an unwritten rule of the fashion week grid the past couple seasons that Monday is officially unofficially Marc Jacobs Day. So. When it comes to identifying today's critically best-received show, there's that, even without Eric Wilson declaring Jacobs' focus on barely bare midriffs a bonafide Bumsters moment. However, the CFDA womenswear winners Mary-Kate and Ashley Olsen's long, lightly layered silhouette and Olivier Theyskens' subversion of great-fitting work pants seemed also to be theories of design the critics could support.

It's an unwritten rule of the fashion week grid the past couple seasons that Monday is officially unofficially Marc Jacobs Day. So. When it comes to identifying today's critically best-received show, there's that, even without Cathy Horyn declaring Jacobs' focus on barely bare midriffs a bonafide Bumsters moment. However, the CFDA womenswear winners Mary-Kate and Ashley Olsen's long, lightly layered silhouette and Olivier Theyskens' subversion of great-fitting work pants seemed also to be theories of design the reviewers could support.

Marc Jacobs Designer: Marc Jacobs

  • "Marc Jacobs kicked romanticism to the curb with a bold New York fashion week show dominated by hypnotizing stripes and delivered at crackerjack speed." {AFP}
  • "Let's switch gears: For the past five days, the chatter at New York Fashion Week has been about softening the edges, but Marc Jacobs changed the conversation--as he often does--after going graphic at his show Monday night." {The Associated Press}
  • "Points to Marc for not doing the same old thing over and over--he has firmly turned his back on neo-Victorian coats and Dr. Seuss hats and proffers something entirely new, even if this means a plethora of vertical lines only occasionally relieved by a leopard print." {The Cut/

    New York Magazine

  • "A vortex of high-fashion moments, centered on stripes." {Daily Front Row}
  • "like chess this was a seriously cerebral fashion show, where a few simple ideas were repeated and refined recurrently in a striking technical display." {Fashion Wire Daily}
  • "This wasn't sex appeal in an aggressive Versace kind of way--not that there's anything wrong with that. No, we're talking here about Marc Jacobs." {fashionologie}
  • "This wasn’t the soft focus apparent in other collections, but it had a rigorous purity that meant you could fairly hear the whistle of the wind as it powered past. Ace." {Financial Times}
  • "With skirts cut perilously low on the hips and jackets cropped to reveal tummies, Marc maintained his signature subversive twist to conservative staples." {Grazia Daily}
  • "Putting the catwalk on fast-forward is a psychological trick invented by Christian Dior 65 years ago. If Dior changed the walking pace from stately to brisk in the 40s, Jacobs is now experimenting with putting it on fast-forward." {The Guardian}
  • "The show--from its Edie Sedgwick hair to its graphic handbags--was an eye-zinger and a blockbuster." {International Herald Tribune}
  • "For the first time in a while, a designer has successfully pushed the sex button in a compelling way. Remember McQueen’s bumster trousers from the mid-’90s? That was a frankly raw style that eventually set in motion the near-universal trend of low-riding jeans. Mr. Jacobs has done something perverse with the straight office suit, a symbol of conservatism and get-ahead careerism." {The New York Times}
  • "It takes a certain wink to make mom’s dowdy suits look like jailbait. Marc Jacobs was winking at us--as usual." {Speakeasy/The Wall Street Journal}
  • "The monochrome, amphetamine-sharp brilliance of the designer's vision cut a precise swathe through all the uncertain murk that swirls around pop culture right now." {}
  • "Jacobs has a uniquely suave talent for distilling all these ingredients into a heady brew that ultimately bears nothing but his own emphatic signature and looks not so much retro as, well, very Next Season." {}
  • "Jacobs stripped down everything for spring. Or should we say stripe-d down? Because what Jacobs did for the polka-dot in autumn of 2011, he’s about to do for stripes next season." { UK}
  • "If Jacobs startled a bit with his economy of message, the clothes looked beautiful and sexy." {WWD}

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Theyskens' Theory

Designer: Olivier Theyskens

  • "Theyskens' Theory, steered by Belgian designer Olivier Theyskens, sent out a range of fluid and sophisticated looks Monday, worn by models in identical wigs, beginning and ending with scalpel-sharp tuxedo suits. 'In this collection, I wanted something more projected, a bit more distant, and not fixed so much in our little reality,' Theyskens told AFP backstage." {AFP}
  • "Even at their most conservative, the somber combos on the runway seem intended for a bad girl who has been up all night and has to somehow get herself to the office the next day." {The Cut/

    New York Magazine

  • "The panache and demi-monde of Paris, the energy and drive of New York, the latest collection of Theyskens’ Theory was the perfect balance of both in a risqué fashion moment." {Fashion Wire Daily}
  • "The drama we've come to expect from Olivier Theyskens's Theory line was in full effect for Spring 2013. This time around, however, it was infused with something new: a slouchy, relaxed sort of mood." {fashionologie}
  • "While Theyskens’ Theory offered some considered, artfully tailored pieces--think charcoal and boxy double-breasted blazers teamed with slimline cigarette trousers, or embroidered A-line jersey minidresses in neutral icy blues--most looks didn’t really push the boundaries far beyond those of chic office attire." {Financial Times}
  • "Olivier Theyskens was once known in his Paris period for a sweet, fey, wispy, couture sensibility. Now he is making affordable clothes for Theory . And perhaps some downtown customers might want a summer of dark (as in black and ink blue) coats with deep arm holes, worn with messy hair and a lot of angry attitude." {International Herald Tribune}
  • "Theyskens included a lot of big design ideas in this collection: super rounded shoulders on jackets, for example, or a gossamer-thin coat covered in icy sequins, or tweed jackets with dropped shoulders and bracelet sleeves--none of which really looked like something you would expect from the designer of Theory. Since he moved to New York to design for the label, beginning with a capsule for spring 2011, Mr. Theyskens has transformed his runway collection from something that was overtly commercial (there were corduroy jeans in an early collection) to something that could be called commercial-but-also-artistic." {On The Runway/The New York Times}
  • "Olivier Theyskens’s collection showed more vitality than last season, maybe because he gave real value to just about everything he put out on the runway, from terrific coat dresses to a crinkled blouson top to an over-scaled navy coat with a black leather mini." {The New York Times}
  • "If it was harder to pick out the hits on his runway for Spring, that's because Theyskens isn't playing it quite as safe anymore. ... Overall, this collection felt like a transitional one. Change is never easy, but it's a thrill to see the 35-year-old going for it." {}
  • "In all, this was a more mature collection, and the way Theyskens tells it, that was deliberate. 'I was entertaining elegance and grace,' he said. 'Less of the girls, you know, and more of a projection.'" {}
  • "For those wild at heart and with a little edge, then come close, Theyskens’ Theory is just what you’re looking for." { UK}
  • "This time, what in the past was a nimble fusion of Theyskens’ often strong penchant for fantastical Goth-grunge and Theory’s Theory-ness--it is a company that rose to glory by the seat of its great-fitting work pants--appeared caught in a tug of war." {WWD}

The Row Designers: Mary-Kate and Ashley Olsen

  • "Here's how far Mary-Kate and Ashley Olsen have come with their fashion collection The Row: Sitting at the spring preview, it becomes clear that other designers at New York Fashion Week have been mimicking the layered-yet-airy refined look that is at the heart of this label." {The Associated Press}
  • "Extremely serious, terribly grown-up fashion." {

    The Daily Telegraph}

  • "From the graceful presentation of The Row, with its focus on shades of cream and coffee, its layering of paper-thin cotton tunics over sheer georgette underdresses over sheer georgette pleated trousers, and floor-length billowing organza silk satin coats over silk linen lounging trousers ... the message seemed to be 'lighten up'--literally." {Financial Times}
  • "There were no trends, except for long, slender lines--just a beautiful collection that had a young, fresh elegance." {International Herald Tribune}
  • "It was the Olsens’ long, lightly layered silhouette that put this collection on a different level. You associate them with long things, but these clothes were far more particular, whether a neat red blazer with a cord tie and long matching skirt or a blue silk-linen dress with a low back that seemed to blend English Regency with Japanese folk." {The New York Times}
  • "It's hard to believe that these are the same designers who built a brand on slouchy T-shirts and sexy leather leggings. This quietly accomplished collection was just about as far removed in ambition and mood from their origin story as can be." {}
  • "It was with ... meditative components that the Olsens proved that the clarity of simplicity can often cut through the commotion of life, even the overwhelming clamour of Fashion Week, and the hectic metropolis where it's housed." { UK}
  • "Theirs is a very specific take on minimalism, with a quiet grandeur and authority that values elegance over edge. Whether they know it or not, the Olsens are the aesthetic descendants of Zoran and Ronaldus Shamask." {WWD}