I was originally going to cover the entirety of the last day of NYFW, but the hair wasn't that exciting, and the excitement for the Marc Jacobs show kind of eclisped everything else that happened, (a feeling I'm sure wasn't exclusive to me).

It has now been 6 months since Jacobs showed his collection for this line on the bombed-out beach. 6 months since his final collection for his diffusion line, Marc by Marc Jacobs. And, of course, 6 months since his final bow at Louis Vuitton after sixteen years, with a retrospective spectacular celebrating some wonderful shows. Where that leaves him is this singular outlet of his creativity, this solitary voice at the line bearing his name and his name alone. So far, it's the only one I've watched on live stream.

"Happy days are here again". Jessica Lange recited the Barbara Streisand lyrics on a loop, against a backdrop of hanging clouds designed by Stefan Beckman, a runway spread out amidst little pedestals for the guests, giving each a front row seat. The mood was set; mysterious, dreamy and encapsulating.

What ensued was nothing like the heavy brocades or deep, rich colours of his SS14 show, nor the neo-gothic showgirl of SS14 Louis Vuitton. Nor did it hearken to MBMJ's collection a few days ago with it's loud, biker-esque brazenness. No, this show was calm, serene, light as a feather and, quite simply, heavenly.

The pieces were soft, delicate and comfortable. The colours were sheer perfection, keeping within their own neighbours, somewhat desaturated - completely flawless combinations. Plays on ombré were presented through tiered chiffon, shale prints, carefully placed sequins or - my particular favourite - dyed fur, which appeared on stunning cropped bombers layered over long dress jumpers. Then there were those woolen trousers and extra long scarves, matched exactly to the jumpers - both innovative and immediately on my 'must have' list. All this was interspersed with earlier pieces in the collection involving clean-cut separates, subtly colour-blocked creams, blues and browns in a 60s style panelled effect. Every single piece was desirable, and should serve to put Jacobs in a serious bid over the top spot in terms of New York's influence on the season, against Calvin Klein and Ralph Lauren.

The beauty team consisted of Francois Nars on makeup and Guido Palau on hair. All of this was planned and worked seamlessly into the collection.

Guido wrapped all the hair up into pulled-back wigs that were coloured to fit in with the tonal palette of the collection and mimic the same kind of effect. Hence, they went for natural colours developed by Victoria Hunter at Whittemore House Salon, giving mink browns, off-blonds and silvery or lilac tones. The idea was to create a kind of futuristic perfection. The wigs were then cut into blunt, graphic bobs that sat with a razor-sharp, poker-straight precision. The makeup, by Nars, was flawless skin and socket contouring using peach, reddish or taupe shades with grey across the eyelids and nude lips for a light, open-faced look. But the real party trick was bleaching the brows then dyeing them the same colour as the wigs. Everything was thought of, and everything was seamless.

This is how to present an idea; the tiniest details give off the effect of the woman, the feeling, the mood that you want the season to be. And I have a feeling a lot of people are going to want the season to be like this. It really is quite divine.