For Jacobs, whose most eye-catching accessory amid his uniform of black tracksuiting is a gun-sized vape, the film catches him preparing for his Spring 2024 collection, officially titled Wonder but better known in coverage as his “paper doll” show. Oversized coats with enlarged buttons and a handbag the size of half the body (one I would die for), along with teased hair raised to the nines, is what we get of the show until the final showcase. Amid flimsy models and Robert Therrien’s giant folding table and chairs (on loan from the Buffalo AKG Art Museum, and doubling as a nod to the collection’s 40th-anniversary milestone for the label), Jacobs holds the runway at the Park Avenue Armory. He’s nervous, I’m not sure why; the crowd is frankly less intimidating and less dressed than Sydney Fashion Week (which is saying something).

Fashion films, whether it be Ralph Lauren’s or this, have a way of often skipping the difficult details, drug dependencies and rock-and-roll-dom that are such a crucial part of what makes them, not for the upper sense, but stylistically, who they are and how they become. This film is far from being upheld with the Alexander McQueen documentary, or even the Margiela one, whose main appeal lies in dealing with the unsolved mystery of who it is. It is rather bland, but Marc Jacobs’ story isn’t, and that is the saviour of what might otherwise be forgotten.