Marc Jacobs’ Spring 2024 collection was spectacular for many reasons. The first was that it marked the 40th anniversary of the brand, and the second was the incredible, doll-like approach to the theme of the show.

The show, titled “Wonder,” was staged around the late American artist Robert Therrien’s giant folding chair sculptures, specifically the 2006 “No title (folding table and chairs, beige).” But it wasn’t just the setting that was oversized, as models donned large, voluptuous wigs and oversized clothing that almost seemed to be inflated, or puffed out like a Rice Krispie.

Interestingly enough, though, the fit of the pieces was still incredibly well-tailored. They were not just “oversized,” but instead bloomed coyly. The jackets still had a waist, high-cut shorts haloed the legs and even the printed lingerie on the bodice of look No. 35 came in to allude to a waist.

Although this is not the first time seeing oversize on the runway, most famously first done by Maison Margiela’s “ultra oversized” collections in 2000, the doll-like collection seemed nostalgic in the way we tried on our parents’ clothes that swallowed us whole, not necessarily constructed outfits out of imagination. Essentially, instead of being doll-like in the Moschino Spring 2017 way, the collection was a clear nod to Rei Kawakubo’s paper doll collection for Comme des Garçons in fall 2012.

Intending to play into the “Alice in Wonderland”-esque whimsicality of the proportions of the runway and the clothes themselves, Jacobs wrote in his show notes that he wanted to continue to play with the “lifelong affair” for his “love for the commonplace … by examining the memorable and the mundane, we abstract and exaggerate with a disorienting familiarity in our desire to express something naive and elegant.”

Playing with innocent lavenders, gradients, sequins and giant paillettes à la Diana Ross and The Supremes, the collection featured giant bags and ballooned-out fitted jackets. It felt almost like my Polly Pocket dolls were coming to life. If only I could reach out and touch the models, I could feel the rubber, even though I know, deep down, the actual fabric would be nothing of that sort.

What I found interesting, though, was not that this was a fresher, almost Loewe-like approach for the new collection in its whimsicality, but that Jacobs had finally acknowledged the current doll craze in his main line. While he had touched on it briefly with his younger brand, Heaven by Marc Jacobs, his approach was still uniquely his own.

If I were to categorize recent designers by the dolls, I would say the very classic, pretty Barbies would be Sandy Liang, David Koma, Fancì Club and Simone Rocha, with international Barbies being led by futuristic, elegant and show-stopping collections by Jil Sander, Schiaparelli, The Garment and Forza Collective. Polly Pocket, fun and fresh, must go to Loewe, Collina Strada, Tyler McGillivary and Ganni.

So where does Marc Jacobs fit in? Was it smart to take on the doll/bow trend towards the end of its cycle with the rise of sheer fabrics, maximalism and dark grunge?

To answer the second question — yes, it was smart because of the way Jacobs approached his collection. Especially with the realization that our obsession with the pink bows mirrors the mustache craze of 2012 — which I shamelessly participated in and loved both — this new style trend still allows for bows, but maybe instead of opting for white lace, the accessory might be metallic or sharp and angled through stiffer material.

How Marc Jacobs as a brand fits in, though, is that the doll he inspires in this collection is most reminiscent of Blythe dolls or the big-eye paintings of the late American painter, Margaret Keane. This doll is not reflective of trends but inspires them. It is weird in its own way, and a staggering beauty you can’t seem to look away from or get out of your head — and interestingly enough, it almost seems to revive ’60s and ’70s mod trends in a not-your-mother’s way.

Most importantly, though, it further supports my hypothesis of a new trend coming along in fashion where we will see greater inspiration from classic art, artists and architecture instead of the modern age. In fact, we’ve just seen it hinted a week ago by Jacquemus in their “Les Sculptures” show inspired by Alberto Giacometti, a Swiss sculptor and painter noted for his heavy influence on the surrealism and cubism movements.

I don’t believe collaboration will occur, though, the way mainstream and retail brands have adopted the works of Jean-Michel Basquiat and Keith Haring. Instead, architecture, sculpture and art movements will inspire high-fashion collections and silhouettes, which will first trickle down into upper-middle retail brands such as Zara, & Other Stories, Mango and Reformation.

Interestingly enough, Karl Lagerfeld famously said “Art is art. Fashion is fashion.” Ironic, since many of his designs were inspired by art, but I think he means that the two are separate entities in their own right when considering cultural significance.

A distinct part of this comes down to what has become readily available and can be categorized as a commodity, especially with our generation’s rise of dupes — but just as high fashion has been copied for lower quality under cheapskate and fraudulent labels, so has art with the selling of fake prints or counterfeit painters who specialize in copying art styles and techniques.

I believe that, still, Jacquemus and Jacobs may be on to something: a restoration of the golden pedestal that couture and fashion as a concept were built on. Just like you and I, fashion is individual and speaks to our imagination. It is a tool of becoming, learning, conversation, appreciation and growth. As better put in “Ugly Betty,” “Fashion is good for the soul,” and I think there’s nothing more beautiful than that in the world.

Hadyn Phillips is a junior writing about fashion in the 21st century, specifically spotlighting new trends and popular controversy. Her column, “That’s Fashion, Sweetie,” runs every Wednesday.