TV y Espect√°culo
Marilyn Manson y Cara Delevingne se unen a oscura campa√Īa de Marc Jacobs
Publicado por: Scarlet Stuardo
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Marc Jacobs no teme incorporar a personajes extravagante de la m√ļsica y la moda en su llamativa pasarela. El dise√Īador autor de su marca hom√≥nima decidi√≥ sumar a otras estrellas, luego de modelar sus prendas en cantantes como Cher y Lady Gaga.

Cara Delevingne y Marilyn Manson se robaron las miradas en la nueva apuesta de Jacobs, basada en una atmósfera oscura y circense.

El dise√Īador que comparti√≥ a cada uno de los personajes en su cuenta de Instagram, cont√≥ en la red social su experiencia al conocerlos y la importancia de su participaci√≥n en la campa√Īa.

MANSON, Brains and Beauty Ironically, I met Marilyn Manson on Halloween in Los Angeles shortly after the release of his album, Antichrist Superstar in 1996. It was after meeting him that I started listening to his music- in large part because I was intrigued by his persona and curious about his perverse and incredible intellect. The Beautiful People and its accompanying music video with all its gorgeous grotesqueries is what sweet dreams are NOT made of‚Ķ The incredibly powerful and frenetic pace of the video with the attenuated and elongated Manson pulled, disfigured and contorted by means of surgical devices, dental apparatuses and other contraptions is absolutely nightmare inducing and an outrageously captivating attraction of repulsion. For our Fall 2011 fashion show, there was no better song to send the girls marching down our boudoir comme insane-asylum runway than, The Beautiful People. It was the perfectly twisted companion for that collection which played at a volume that nearly shook the walls down. In direct contrast to the outward hideous beauty of Manson‚Äôs stage persona is his instinctive, inherent intelligence and understanding of what matters. These days more so than ever I am reminded of Manson‚Äôs interview in the documentary film, Bowling for Columbine and his response to a question asking what he would say to the kids and Columbine community in the wake of the tragedy that took place in 1999. His response was, ‚ÄúI wouldn‚Äôt say a single word to them. I would listen to what they have to say, and that‚Äôs what no one did.‚ÄĚ Sometimes knowing when to listen is more important than being heard, and in one sentence Manson left a stronger impression on me than his music ever had previously. Marilyn Manson photographed by David Sims for our Fall 2016 ad campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

“Empec√© a escuchar su m√ļsica porque estaba intrigado por esta persona y sent√≠a curiosidad por su perverso e incre√≠ble intelecto”, relat√≥ Marc sobre el m√≠tico Marilyn Manson, a quien conoci√≥ en v√≠spera de Halloween hace una d√©cada en Los √Āngeles (EEUU).

CARA, Womanchild Every once in a blue moon I am fortunate enough to meet a model with a personality so huge it almost overshadows even the strongest of looks‚Äď the most dramatic fashion. When I met Cara through Katie Grand a few years ago, she was the girl in the animal onesie with boundless energy, great humor and in perpetual motion. Watching Cara‚Äôs growth and evolution into a dynamic, outspoken, independent woman is a true joy, just as she is herself. Her generosity and care in wanting to get a job done right (even if it means missing a flight!) is a testament to her professionalism and true character. Photographed sitting still and just as full of life as always, the unstoppable Cara Delevingne by David Sims for our Fall ‚Äô16 ad campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

Por otra parte, el artista se√Īal√≥ en la plataforma su admiraci√≥n por el crecimiento y compromiso de la modelo de cejas pobladas. “Su generosidad y preocupaci√≥n por hacer bien su trabajo es un testimonio de su profesionalidad y su aut√©ntico car√°cter”, escribi√≥ sobre Delevingne.

Cabe se√Īalar que no es la primera vez que Cara Delevingne y Marilyn Manson participan en el mismo proyecto. En 2014 ambos artistas participaron en el videoclip Ugly Boy de el d√ļo africano Die Antword.

Otras celebridades

Cara y Marilyn no fueron los √ļnicos que lucieron los l√ļgubres atuendos de Marc Jacbos en su campa√Īa. La controversial ex esposa de Kurt Cobain, Courtney Love, tambi√©n visti√≥ uno de los exclusivos dise√Īos.

COURTNEY, R(evolution) With my abundance of respect for Courtney Love‚Äôs musical contributions to grunge/rock culture and her status as this sort of, Grunge Goddess, it was her mesmerizing and extraordinarily moving portrayal of Althea in the film, The People vs Larry Flynt that simultaneously broke my heart and won my love. While I hadn‚Äôt yet met Courtney during my time as Creative Director at Perry Ellis, it was her then style that had a great influence on that now infamous ‚Äúgrunge collection‚ÄĚ show in 1992. Courtney and I (and a then 2 or 3 year old Frances Bean) first met at dinner with Anna Sui in 1994 at Bar Six in NYC. I remember being quite taken by her deep, thorough knowledge of and voracious appetite for fashion and music. There has always been a genuine allure about Courtney that I continue to admire. The way she‚Äôd scream her lyrics from that gash of a red mouth to the hard rocking, wailing sounds of Hole. She was then and remains now, for me, the ultimate divine mess in a dress. Gone but no where near forgotten is the girl-woman Goddess of Grunge in her too small tattered dresses, the little girl barrette in her messy, scattered hair and beaten up brocade 1960‚Äôs evening shoes. It‚Äôs a long distance from the now iconic kinder-whore Courtney photographed by Juergen Teller for I-D magazine in 1994 to the movie star glamour of the powerfully aloof and infinitely present Courtney, photographed here by David Sims for our Fall ‚Äô16 campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

“Siempre ha tenido un encanto genuino que hace que siga admir√°ndola. La manera en la que grita sus letras como una herida en su boca roja, son lamentos profundos. Ella era, y sigue siendo para m√≠, el √ļltimo desastre divino metido en un vestido”, relat√≥ Jacobs.

Missy Elliot fue otra de las estrellas musicales consideradas por el dise√Īador de moda. La rapera pos√≥ con una actitud indiferent, interpretando el conjunto asignado por Jacobs.

MISSY, Supa Dupa Fly From the moment I heard, The Rain, back in 1997, I was entranced by the genius rhythms and brilliant rhymes of Missy Elliott. Missy’s music has kept me and my design team happily energized through countless weekdays, weeknights and weekends during those long hours of sketching, fitting, styling and doing looks. In addition to the boundless energy of her music are the visually pulsating and wildly cartoon-like music videos she made in collaboration with the talented and visionary, Hype Williams. I am in continued awe of Missy’s ability to push the boundaries of the style of music both to the eye and to the ear. It was a dream of mine to work with her and I'm happy to share this portrait by David Sims for our Fall '16 campaign.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

Finalmente Marc se√Īal√≥ que la elecci√≥n de sus personajes la realiz√≥ en apoyo a la diversidad, donde tambi√©n incluy√≥ otros rostros como Kendal Jenner, Annie Clark y Kembra Pfahler.

KEMBRA, Femininity While I had been aware of Kembra Pfahler's unique voice and vision during the East Village scene in the 1980’s, it was when her band, The Voluptuous Horror of Karen Black (that name alone!) released their album, The Anti Naturalist, in 1995 when I found myself completely enamored with and curiously drawn to Kembra. Those curiosities lead me to my first TVHOKB performance. Not knowing what to anticipate, Kembra took the stage (set with giant ladybug-like cutouts) in her bow-festooned raven black, teased-to-there hair, naked-painted-red body dressed in nothing but black panties and dominatrix like stiletto boots rocking out with a magnificently raw and punk energy to songs like Spelling Bee, Gotta Get My Eyes Done and my all time favorite, Honky Tonk Biscuit Queen. Making the best use of what's available or AVAILABILISM as Kembra refers to it, has always been her approach to performing art. This low-tech performance/concert was the most brilliantly raw, twisted punk-rock-of-a-school-play I have ever witnessed and Kembra, a deconstruction of cliché femininity was rooted in such purity and innocence. Portrayed here as a Fetish High Priestess by David Sims for our Fall 2016 campaign, the intensely stunning and provocative Kembra Pfahler.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

ANNIE, Other The idea to ask musician Annie Clark (more commonly known by her stage name, St. Vincent) to be a part of our ad campaign had been discussed long before the Fall 2016 season began. It was Katie Grand who originally brought Annie to my attention and suggested we consider extending an invitation to join this campaign. I was really taken by comments Annie made in an interview with Rolling Stone Magazine where she described queerness as a transcendence of sexuality and as a ‚Äúbanner‚ÄĚ for being ‚Äúother.‚ÄĚ It was thoughtful, relevant and poignant. There‚Äôs a certain maturity that‚Äôs inherent in Annie that transcends her age and while her music is a direct reflection of her intellectual curiosities and musical prowess, it was when I had the privilege of meeting Annie in person that I experienced her magnetism. She operates with such genuine grace, poise and sincerity. I am in complete awe of the beauty of this photograph by David Sims for our Fall 2016 ad campaign. It so perfectly captures the inherent contemplativeness of Annie, her humility and mystery.

Una foto publicada por Marc Jacobs (@themarcjacobs) el

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