Jil Sander S/S 10 Milan
- Thread starter Flashbang
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Northern Star
French Chic
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So far in Milan they have showcased possibly the most incohesive collections I have seen in a while and this is right up there with the best of them.
Intrigued by the use of so much colour for Jil Sander and some lovely but slightly ill fitting pieces.
Love the white knitted and sheer dresses and the tailored white suit.
Intrigued by the use of so much colour for Jil Sander and some lovely but slightly ill fitting pieces.
Love the white knitted and sheer dresses and the tailored white suit.
ForChicSake
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i 
the shoes, i love this collection
the shoes, i love this collectionI think it's lovely. The shapes are interesting but flattering at the same time. I think the plastic number on Annabela is super-awesome, it reminds me of Lanvin for some reason. The accessories are simple but give the simple clothes a bit of a kick. The tailoring is beautiful.
Wow...RS finally does it feminine and sexy....finally, 
I love it! Agree with everyone though, that the shiny stuff are just "off". Other than that, he's opted for a belted hourglass shape, and a lot more playful details. It will sell, especially the neutral pieces. This is nothing ground-breaking, a very safe collection.
I love it! Agree with everyone though, that the shiny stuff are just "off". Other than that, he's opted for a belted hourglass shape, and a lot more playful details. It will sell, especially the neutral pieces. This is nothing ground-breaking, a very safe collection.i like it myself! love the melange of graphic and geometric textures & materials. it really kind of reminds of a mix of the archive,raf's approach but also a little bit of branquinho. maybe in the wake of what happened(because they've remained very close)this was partly inspired by her? and a lot of people used to say when jil left that initial time veronique should have been hired. just my feeling though.
kiddokiddo
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wednesdays child
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like it all ! (except the shoes... scaaaaaaaary)
kiddokiddo
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kiddokiddo
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kiddokiddo
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kiddokiddo
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kiddokiddo
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kiddokiddo
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kiddokiddo
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i dont hate it, but its definitely not the best raf has offered at jil sander. this collection has a lot of raf touches, i feel a sense of his own collection in here. hate the metallic random dresses but overall it very clean simple. the belt is getting annoying though. yay for raw edges?
from: sophia
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Fantastic shoes they are great they remind me of mid century modern furniture. and Zabriskie point is a crazy movie I would much rather have had them show the scene from the end with the pink floyd song and the slow motion explosions. this is the vid from the movie http://www.youtube.com/watch?v=9rxpfO90mg8. I hate the amount of color that was used it just seams like such a random inclusion I need detail pics to judge. This is always the show I look forward to the most.
disco54
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catryn horyn really praised this collection and im not surprised. Im usually the first to insult a jil sander collection as I have done over the past 4 years . This collection is emotional and beautiful and wearable for the most part. Jil sander has gone through many hardships with change of owners and closing of the atelier .
nytimes.com
When you consider the problems that Raf Simons has faced since he became creative director at Jil Sander four years ago—new corporate owners, the departure of top managers, the loss of key technicians—it is not surprising that his latest collection seems so free. That was the word that kept coming to my mind tonight: freedom. In reality, fashion is not a free state. Designers have obligations to corporate owners, and some of them, as we have seen with other houses, are not very experienced. Designers must also consider retailers, customers, and editors. And, of course, it is often helpful to the creative process, as well as the bottom line, to work with limits.
If you give a designer a chance to be completely free, if you tell him that is what he should do, I am not sure how many designers actually know how to be free. Mr. Simons gave us the exception tonight. We have seen deconstruction, we have seen raw edges, unusual volumes, transparency, and things that seem to change or dissolve before our eyes. I had the sense that Mr. Simons considered all of these fairly recent notions, and then asked himself how he might do them better, and in a way that moved fashion’s marker. That clear-headed ambition made this show enormously powerful. Indeed, you couldn’t quite process everything he was attempting to do.
Before the show, on flat-screen monitors suspended from the ceiling, he ran eight different films of well-known land art projects, including a number by Christo and Jeanne Claude. Once the show began, the monitors filled with clips from the 1970 movie “Zabriskie Point.” You could see the connections in the clothes to all these images—the melding of organic materials, the manipulation of spatial relationships. The first dress appeared daubed with fluttery, cut-out pieces of the same fabric, a simple device that changed the surface. Jacket shoulders and hems had a cut-and-paste effect. There were long mesh or net dresses with the body’s contours traced in knitting; the materials all seemed to blend together.
How Mr. Simons managed to create a black stretch sheath with a surface that appears wrapped and knotted, I don’t know. There were also beguiling volumes—oversized blazers and coats in what appeared to be natural cotton canvas; they were belted over full skirts. And there were fabrics that seemed to bleed from a solid wool (for a simple coat dress) to a sheer.
It was just an astonishing performance—energetic, modern, alive. I had the feeling that Mr. Simons was possibly, deliberately, interpreting some recent looks by other designers. The oversized jackets and skirts reminded me of the wool suits that Prada showed for fall. A sheath with ruffles down the front made me think of Marc Jacobs. Some of the coarse materials, like raw linen, and exposed inner structure of jackets brought to mind Rei Kawakubo.
But if he was thinking of these other designers, he didn’t just interpret their designs. He advanced them, and he asked himself how that was possible. Then he just did it.
nytimes.com
When you consider the problems that Raf Simons has faced since he became creative director at Jil Sander four years ago—new corporate owners, the departure of top managers, the loss of key technicians—it is not surprising that his latest collection seems so free. That was the word that kept coming to my mind tonight: freedom. In reality, fashion is not a free state. Designers have obligations to corporate owners, and some of them, as we have seen with other houses, are not very experienced. Designers must also consider retailers, customers, and editors. And, of course, it is often helpful to the creative process, as well as the bottom line, to work with limits.
If you give a designer a chance to be completely free, if you tell him that is what he should do, I am not sure how many designers actually know how to be free. Mr. Simons gave us the exception tonight. We have seen deconstruction, we have seen raw edges, unusual volumes, transparency, and things that seem to change or dissolve before our eyes. I had the sense that Mr. Simons considered all of these fairly recent notions, and then asked himself how he might do them better, and in a way that moved fashion’s marker. That clear-headed ambition made this show enormously powerful. Indeed, you couldn’t quite process everything he was attempting to do.
Before the show, on flat-screen monitors suspended from the ceiling, he ran eight different films of well-known land art projects, including a number by Christo and Jeanne Claude. Once the show began, the monitors filled with clips from the 1970 movie “Zabriskie Point.” You could see the connections in the clothes to all these images—the melding of organic materials, the manipulation of spatial relationships. The first dress appeared daubed with fluttery, cut-out pieces of the same fabric, a simple device that changed the surface. Jacket shoulders and hems had a cut-and-paste effect. There were long mesh or net dresses with the body’s contours traced in knitting; the materials all seemed to blend together.
How Mr. Simons managed to create a black stretch sheath with a surface that appears wrapped and knotted, I don’t know. There were also beguiling volumes—oversized blazers and coats in what appeared to be natural cotton canvas; they were belted over full skirts. And there were fabrics that seemed to bleed from a solid wool (for a simple coat dress) to a sheer.
It was just an astonishing performance—energetic, modern, alive. I had the feeling that Mr. Simons was possibly, deliberately, interpreting some recent looks by other designers. The oversized jackets and skirts reminded me of the wool suits that Prada showed for fall. A sheath with ruffles down the front made me think of Marc Jacobs. Some of the coarse materials, like raw linen, and exposed inner structure of jackets brought to mind Rei Kawakubo.
But if he was thinking of these other designers, he didn’t just interpret their designs. He advanced them, and he asked himself how that was possible. Then he just did it.
