Jil Sander Spring/Summer 2014
"In a white suburban bedroom in a white suburban town,
As she lay there 'neath the covers dreaming of a thousand lovers
'Til the world turned to orange and the room went spinning round."
The lyrics from "The Ballad of Lucy Jordan" echo. Neither the orange (or fluorescent) details in the piping, shirts or coats; nor the cut-up catwalk forcing models to spin around the space; nor the white looks are important. I am more interested in Jil 'dreaming of a thousand lovers' and today we see thirty-eight of them.
But then, each look refracts. We see each look walk by the polished glass, through the glass itself and reflected upon it. So, we never just see one ensemble at any time. The reflective and refractive quality to the show-as-performance opens up a space to discuss the cultural filter of images—both moving and still—in which we see our world. Cindy Sherman will approve.
This was best seen in looks which can be described as intermezzo—short, connecting looks punctuating the show. The opening look is a good example. You have the all-white suit with the fluorescent piping that alludes to sportswear; as well as, the cropped trouser and the wide-set shoe. Colin McDowell, Carlo Brandelli, Tom Hingston, Jack Tobin and Hywel Davies laughed at the poorly cut trousers and nebulous 'man' from the A/W 2013 show. The cropped silhouette (exemplified by re-fashioning the knickerbocker) or innovative shirt/blouson hybrids emerge as a response.
McDowell claimed that Sander is "an older woman who is trying to capture the Zeitgeist of the young". Sander has captured youth in this collection by the super-position of one idea upon another: sportswear and tailoring. Her success lies within the execution of this simplicity.
As Jil steps out to applause, her image is caught upon the glass. The show ends. I could not help but think of Sherman reflecting upon her refraction as both artist and subject. Jil Sander by Jil Sander.
/RUDY
As she lay there 'neath the covers dreaming of a thousand lovers
'Til the world turned to orange and the room went spinning round."
The lyrics from "The Ballad of Lucy Jordan" echo. Neither the orange (or fluorescent) details in the piping, shirts or coats; nor the cut-up catwalk forcing models to spin around the space; nor the white looks are important. I am more interested in Jil 'dreaming of a thousand lovers' and today we see thirty-eight of them.
But then, each look refracts. We see each look walk by the polished glass, through the glass itself and reflected upon it. So, we never just see one ensemble at any time. The reflective and refractive quality to the show-as-performance opens up a space to discuss the cultural filter of images—both moving and still—in which we see our world. Cindy Sherman will approve.
This was best seen in looks which can be described as intermezzo—short, connecting looks punctuating the show. The opening look is a good example. You have the all-white suit with the fluorescent piping that alludes to sportswear; as well as, the cropped trouser and the wide-set shoe. Colin McDowell, Carlo Brandelli, Tom Hingston, Jack Tobin and Hywel Davies laughed at the poorly cut trousers and nebulous 'man' from the A/W 2013 show. The cropped silhouette (exemplified by re-fashioning the knickerbocker) or innovative shirt/blouson hybrids emerge as a response.
McDowell claimed that Sander is "an older woman who is trying to capture the Zeitgeist of the young". Sander has captured youth in this collection by the super-position of one idea upon another: sportswear and tailoring. Her success lies within the execution of this simplicity.
As Jil steps out to applause, her image is caught upon the glass. The show ends. I could not help but think of Sherman reflecting upon her refraction as both artist and subject. Jil Sander by Jil Sander.
/RUDY
To me, Jil Sander is an emotional affair. Each and every time defending the entitlement of minimalism. And it became an utmost personal affair. For the first time, a collection made me cry. And surrender. To cropped trouser lengths, to monochrome, mirrored floral prints. To pink salmon, to PVC. To white suits and black socks. To skirt-like shorts and 1990s virtual reality piping. She does not need Raf. Jil Simons turned Jil Sander. Jil is God.
/HORST
1. Jil Sander Spring/Summer 2014
2. Jil Sander Spring/Summer 2014
3. Gregory Ratoff Intermezzo (Leslie Howard and Ingrid Bergman), 1939
4. Cindy Sherman Untitled Film Still #56, 1980
5. Ed Ruscha Strength, 1983
6. Cindy Sherman Untitled Film Still #27, 1979
7. Georg Baselitz Ein moderner Maler (Remix), 2007
8. Jil Sander Spring/Summer 2014
All about Rudy Katoch
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