MulletProof
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[catwalking]
Share with us... Your Best & Worst Collections of Haute Couture F/W 2025.26
Defying gravity: Jil sander by Cathy Horyn
Fashion can seem so life-denying when designers begin piling on the merch and hunkering down for a cold winter. And you do feel the economic crisis here: the empty stores, the report yesterday that IT Holding, which owns Gianfranco Ferré and Malo, among other labels, has filed for bankruptcy protection.
But then tonight Raf Simons tried to defy gravity with a dazzling Jil Sander show. It started so quietly, with an homage to the clear and succinct influence of Ms. Sander. There were sharp coats in white and gray double-faced cashmere, over shifts and trousers worn with turtlenecks and flats. The second half of the show began with a flash of colored strobe lights, and a white sleeveless dress with a panel in the back that was cut on a curve and an interior of black satin. It had the same visual effect of a deep hole — the bottomlessness of it. And yet, of course, it was a just a dress.
This collection did masterful things with curvilinear shapes (inspired by the ceramics of the French artist Pol Chambost, whose name I had to Google). The curls of a dress opening at the side or half cupping the face suggested lips. I need not elaborate. Imagine, though, bringing that kind of sensuality and female imagery to fashion, and doing it in a way—with stretch wools, knits and spongy jerseys—that actually expands the language of minimalism. I like that Simons divided the show in two parts; at first I wasn’t sure about that. But the collection certainly represented a leap of faith. I hear that Jil Sander’s new owners are closing the Hamburg ateliers. At the end of the show, Simons brought out the chief of the atelier, Christel Von Kiedrowski, who has worked for Jil Sander for more than 20 years.
ugh, I hear you. I like nearly all the pieces but none of it is 'moving' me at all, it seems like such a cold, extremely mechanical collection.. I deeply appreciate Raf's conception of a staple that never expires and that you incorporate into a lifetime instead of a season, but.. I don't know, the first part feels so old, sometimes a year old and in other looks, it's 1997 all over again. but that's not my major complaint anyway, perhaps what I'm trying to say is that the collection as a whole seems to project so much concern, probably the economical concern Cathy mentions?, and that's why I can't genuinely embrace it.But . . there's something I don't love.
I'm not feeling it that much at all really . . ?
I wonder why?