In the time of the industry's total transformation and radical shift in trends, conglomerates are agonizing to grasp new marketing tools and produce ideas that will boost the sales of their brands and keep the interest of numerous target audiences.

While constantly changing inspiration vectors in search of a perfect solution to attract the attention of new customer groups, brands unwittingly step away from their DNA philosophy and the values laid by their founders. Brands toss their creative directors, who, in their turn, adjust already established philosophy to the tastes of the opposite group of customers, and, eventually, lose their loyal customers who are facing how their favourite brands are losing their uniqueness. It is fair for those who have always emphasized history and eternal values to be drawn to Gen Z, and for young brands to involve the Baby Boomers in their game by all means.

Marc Jacobs sticks to his own, one-of-a-kind viewpoint on the future spring-summer 2019 season. His signature vintage classics becomes more and more surreal and dramatic with every new season. This time, he has interpreted the style of the Stepford Wife from the idealized American life, and offered to integrate it into our lives in the near future.

This vision is unlikely to conquer the hearts of many. However, some innovators of the total mainstream with ubiquitous sports and lettering, who have grown tired of the tosses and turns of other brands, might pay attention to Jacobs’ concept of the 'perfect idealism.' I doubt that, mainly because of the lack of commercial focus, that has worried the fashion community, press, and Jacobs' colleagues in recent years.

The style of Jacobs reflects his character: creative, ardent, enchanting, causing mixed emotions – from hate to love. Just like the wait before the show, when the anger of the guests changes to admiration when the first model steps on the catwalk.

The collection of 55 looks, styled by a longtime friend and creative consultant of the brand, Katie Grand, is based on fashion items from the 50s and 60s – vinyl Mackintosh, boucle twin-sets, cardigans and trenches, palazzo pants all reinterpreted by Jacobs in a super-realistic manner, but preserving the aesthetics of the sixties.

Perfection is no vice, and you can see it by yourself by taking a closer look at the collection.

Marc Jacobs drew inspiration for most of his collection from American cinema dramas of different periods, from the 40s to the 60s.

Kaia Gerber, like the hero of the Hitchcocks suspense, wearing an oversize raincoat and bright yellow vinyl kerchief (look No2), a flower-shaped necklace and sparkling tights, driver’s gloves and a mini reticule bag, is telling us that retro is back with its drama, grotesque and satire.

A belted trench, covering a guipure slip dress (look No4) coupled with a head bow and a face net seems to be hiding the shameful pleasure of a sinful murder of love, committed in the ideal world of the blackand-white noir.

A wool palazzo suit (look No6) together with a semitransparent satin blouse decorated with golden dots print, puffed sleeves, and jabot neck, and a matching small hat shifted onto the model's face covered with a large veil, harks back to mysterious women who were conquering men's hearts in that epoch.

There are also English classics interpreted in an American way. For example, a salmon colour coat with a rounded Peter Pan collar, lowered sleeves, hidden buttons, and three big plastic ones matching colour on the collar and cuffs (look No32).

Part of the collection reflects Jacobs' longtime passion for the Drag Queens aesthetics that is gaining popularity on the other side of the Atlantic, and his friendship and collaboration with RuPaul and RuPauls DragCon project, and making costumes for popular drag queens like Kim Chi. It is reflected in avantgarde oversize A-line dresses made of cotton and organza (looks No9, 35 and 42), with ruffles and a rosette on the right shoulder that is turning into a puffed sleeve, a modest sample of which appeared in 1956 Henry King's fantasy Carousel, in dresses and capes adorned with ostrich feathers (looks No28, 29 and 31), in the abundance of jacquard, lurex and brocade.

Eye-catching is the cape coat of a khaki colour with a contrasting lining (look No12), and a jabot neck smoothly turning into a veil-like organza head decoration; a yellow classic-line coat that imitates the balloon shape to hook vents in the back and has a detail imitation of a cape on one side, in combination with a rose-decorated choker, embellished with applications and contrasting blue leaves, worn over a blue linen skirt with a black guipure frill.

The majority is not ready for all these pseudo looks, so they should pay attention to the details that will make it easier to accept the new trends introduced by the American maitre: pumps decorated with multi-layer bows; huge bejeweled accessories; bow ties winding around models' necks; reticules with plastic parts; sparkling tights, socks and gaiters.

Will customers follow Jacobs and dive into his fantasy representing the two extremes that dominate in his mind – the one of noir-like mistrust and pessimism, disappointment and cynicism; or will they rather let Marc drag them into the world of Drag Queens that has captivated the designer with rich culture archives? Time will tell. There is no doubt: the ideas of the 55-year-old Jacobs are closer to Haute Couture than to a commercial collection. But probably it doesn't matter to him