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◆ The JIL SANDER & RAF SIMONS shopper thread ◆ - Page 20

post #286 of 551

What KVA is doing for his own line isn´t bad at all IMO.

post #287 of 551
I don't think KVA has done anything worth remembering at dior except a couple of sneakers. Hedi seemed to make something legendary every other month and Kris has all but done away with his sharply tailored militaryesque silhouettes in favour of a more relaxed thing that I don't really like (we already have Lanvin and Damir or even Yohjo/Ann/others for that in some ways).

There is always Geller/Plokhov, etc for that aesthetic now, though. I would be interested to see Raf take on Dior menswear, and of course I am very curious about Hedi at YSL.
post #288 of 551
Anybody have opinions on the techno fabric stuff by raf? Sydneys has a couple unstructured blazer/sports coat going for $500 which isn't an instakop price but they were really nice. Fabric was stretchy yet still gave off the appearance of wool
post #289 of 551
If Jil is starting right now does that mean we are going to get a full-fledged ss13 show that's all her? icon_gu_b_slayer[1].gif
post #290 of 551
does anyone have a jil2011 snake-print t-shirt and could give measurements? i don't trust the mrPorter measurements patch[1].gif

btw. here an interview with her about her comeback, but it's in german
post #291 of 551

Porter has free returns, just try it on?

post #292 of 551
Originally Posted by Zeemon View Post

btw. here an interview with her about her comeback, but it's in german

Google translate worked pretty well:



Warning: Spoiler! (Click to show)


As the rumor went the rounds of your return, it was pointed in the German press is equal to your age. For Karl Lagerfeld, who is a decade older than you, you would hardly dare. Do you find such a thing as sexist?

Absolutely. But in my generation, we have started early. I had reached forty, which had until then managed with perhaps fifty-five. Today it is no longer so much a matter of age, and what interests people is what one does. And I'm in a stage of life, mature in the first politicians to senior roles.

They have already struck at twenty as an employee of the fashion magazine "Constance" by your own mind and have the declaration stunned. "I want to make a difference"

I did not know if I would be right. But I remember the intensity with which I wanted to go my way. If I had to convince others of my vision, I could be very radical.

Are not you in quiet moments, that the task might be too big? They have left the company eight years ago.

There is already a sobriety because the challenge is huge. But I did not know the fashion turned her back, I designed for the Japanese company Uniqlo + J line.

Last year they received the prize of the British Design Museum, and Japan were you voted "Designer of the Year." If the + J collection in New York and London came into the stores, people were standing around the block.

Well, you see. I feel much more middle of it.

If you build on the stylistic point where you left Jil Sander? What makes you as a designer, is yes, if I may say so, the "Modern Mission".But in the last decade has largely disappeared in the retro-trend. Yet there is a prospect that humanity is committed to the fashionable avant-garde?

Modern is for me a fashion in which the individual finds his forte. And that is a question of quality in design. We need cuts that are creative and dynamic enough to give the body a living form, without interfering with it. I mean clothes that carry the spirit of the times as an energy in itself. If we look at the history, fashion was mainly characterized by constraints. You must not speak of parricide. There were in all areas of life uniforms, ways you had to dress. And for the woman's costume was often very painful and defamatory.

If you have not got used to it that people do not want comfort? They want to be the latest trend here.

That may be true for events, if one calculates in an appearance. But in everyday life, is rather casual, because what is offered in fashion, often too complicated. I am sure that everyone is persuaded by a fashion that gives it next to a dynamic body sensation and appearance and attractiveness. Truly modern elegance is immediately effective and generates respect.

You have been always associated with avant-garde, the Bauhaus style and minimalism. They were the designer, who relied on contemporary phenomena in art. What are you based now?

We had never been such an uncertainty on the question of what art is. It is not easy to find a position here. Fashion, art, photography and film, it all flows together. If I move to art fairs, I always try to understand things. But Andy Warhol, you did not understand his Brillo boxes, too, and today we know that it was an absolute zeitgeist.

Traditionally in Germany was one of the interior over the exterior.Are you also in this sense, a German designer?

I think that it is the women have always felt that is in my fashion such a thing as a soul. My thoughts and my feelings have spread to the body. It is well known that I was once very shy. I had to learn everything and needed a stop, a stronger, when I went to meetings. I designed fashion for me, and then she did another well. Previously it was only on the head and mind, now everything has become much more superficial, but it also has a therapeutic side. I think you should make consciousness visible, rather than to dress up.


To return to the fashion of today: they accelerated more and more, you can hardly even trends, but hears only the sounds recycled. If the Jil Sander style that relies on across time values, one more chance?

This style is not timeless, it appeals not only to throw away. Especially if you're not just from season to season, the decor changes, but what is new in many fitting out works of sculpture of the clothes, if the right cuts are implemented and technically accurate, then a piece of clothing for years to keep his energy.

We are talking about the fine degree of minimalism, but for many is also fashion extravaganza.

Extravagance can be many things. Extravagance, it was in fashion at the beginning of the 18th or 20 Century. But only now has become synonymous with extravagance, bad taste. What do they call it, is in reality an unholy mix of styles.

Is there even still fashionable creativity, or is not all played out a hundred times?

For me, someone is creative, has a sense of change. A creative person is always a seismograph. And today when so many repeats, then there is also the fact that we are afraid of the future. The fashionable recycling is like a fog that lulls us to sleep and takes the view. But we must not forget that there is a huge non-simultaneity. Russia, China, India, Asia account for almost the first time acquainted with luxury and fashion. For this gigantic consumer groups, the fashionable theater of the 20th Century of fast-track listed once. Ultimately, it comes but just for all the new buyers important to make a good impression. If you compete on the global market and global positions must, then you do not want to look exotic, but self-confident meet on equal terms. What emerged slowly out of the mess, is the need for a common, global language of the natural, modern elegance. Perhaps there has never been more important to be dressed sovereign and not to hide in ridiculous uniforms.

That almost sounds like a new mission: a uniform for the human race. You have spoken as well as designer + J "democratic fashion for the new century."

I've wanted from the start: put on the whole world anew. But then the world was much smaller, and the women who understand my fashion, they often could not afford. That has changed! Thoroughly.

They have started 1973 with the slogan "Good design for little money." At that time you still want to make fashion for Apo. They said in a "mirror" interview: "My first idea was a perfect fit into the mood at that time, I wanted to make low-cost fashion, simple, soft things that stood out against the fashionable frippery."

But then the unlined jacket, which I had in India can sew, were a disaster.Quality is not having nothing.

And yet you have broken through at Uniqlo in price-performance ratio of the sound barrier. No one had previously thought possible, that would even make cheap Jil Sander fashion.

It was not a cheap fashion! We have lifted the limits given in the absolute optimum. + J had class and quality.

And now we come full circle, and you are back in the couture. Leaves traces the experience at Uniqlo?

Yeah, but not in the bad sense. I deal with my so carefully and economically possible and at the same plan in large numbers had, has made me even more concentrated. I've also learned a lot from this mass market company. Tokyo and its many people has expanded my horizons.

Will it be difficult for you to act in your own company under foreign management?

Thank God I have a natural authority, which I do not necessarily make as a business owner to the test.

There are those who say that the fashion is himself a past phenomenon. Hubert de Givenchy recently lamented that all the attention goes to the accessories, the clothes are dull, and no one thinks women make better through clothing. Do you agree?

The major labels do corporated now 65 to 75 percent of their profits with pockets. But of course there will be an important task to design authentic Jil Sander accessories that fit our individual thinking.

A return is like your own brand for something new in fashion. What are the dangers?

I see no danger. Think of Steve Jobs - when he returned to Apple, it started with Apple in earnest.

But he has wiped out his vision for himself and his standards and completely. .

The danger is always there when you do something right. Otherwise he probably would not get executed. But Steve Jobs never had a real break, he has founded and developed a cube-Pixar computer. He had always stress. I'm really for two years before Uniqlo been out there and have learned that there is an afterlife of fashion, from which we must draw strength.

And what is this beyond today?

Nature, for example. And when I was in Paris at the fabric fair, I'm still on the way to the airport attends a Russian church. The church was perfectly round and had this golden ratio, and the people who prayed fervently before a special icon Madonna. The atmosphere made me deeply involved in it. That was a very gladdening experience.



Nice interview.

post #293 of 551
anyone have the raf cotton bomber that was on mr. porter in a size 46? looking to purchase!
post #294 of 551
Thread Starter 
post #295 of 551
Thread Starter 
Bridget Foley wrote a polemical piece in wwd specualting Raf may have been fired .. and kind of critical of jil towards the end

Bridget Foley's Diary: The Jil Sander Saga

Raf is out, Jil is in.

Today is Jil Sander’s first official day back at the house that bears her name. Let’s hope her third tenure there is handled more gracefully than the debacle of the past few days, when news of the shake-up erupted just in advance of Raf Simons’ last show.

Simons leaves — more correctly, he was unceremoniously dumped — at the top of his game. A designer of women’s wear neither by education (he studied furniture design) nor first sartorial vocation (he started in men’s), in 2005 he took over a house in distress after some bad decisions — including the one by its founder to sell into a situation, which, in retrospect, would almost surely lead to a clash of personalities — and turned it around, at least creatively. He made it not only relevant again but essential.

Under Simons, Jil Sander became one of a handful of fashion’s must-sees. His clothes have been consistently provocative, vibrant, thoughtful. And gorgeous. His past four collections — culminating with his breathtaking tour de force on Saturday — have been some of the most exciting and important by anyone in recent memory.

This dismissal is inexplicable to me. A matter of commercial viability? If these clothes aren’t salable, I’m sad for fashion. In her comments to WWD on Monday, Sander invoked the need “to break rules, if there is a good reason. Now is the time to be daring, there are few new ideas.” A good number of fashion’s recent good ideas emerged on Simons’ runway, notably the modernization of classic couture elements and their infusion with a sporty attitude.

Sander also said, “I feel that the spirit and enlightened development of basics has a lot to do with the future of fashion.” Agreed. Up and down the food chain, basics will always form the core of most people’s wardrobes. But at the luxury level at least, such basics should provide background for greater fashion. If the passion, thirst and — bottom line — market for such fashion no longer exists or is endangered, then why do we all sit on our fannies at these shows for four weeks straight, spending lots of corporate money along the way? So brands can build their fragrance businesses? Basics, even the toniest ones, can now be seen to fine advantage on Ed Filipowski’s If fashion’s future lies primarily in basics, is the advanced designer species robbed of its raison d’être? Should the sensible, savvy creative director move in and take over?

But I digress. That’s a different, if related, topic for a different day. My point here is twofold: First, I just don’t get this change. Second, it was handled badly. On point one, how many shows are genuinely memorable by season’s end, let alone into the future? Oh so few, and Simons’ percentage over the past few years is sky-high. Yet of the industry comments I read in WWD Monday, most (except for those of Anna Wintour, Ken Downing and Linda Fargo) veered highly political, toward “The King is dead! Long live the Queen!” making me think I’m in a minority. Why? Weren’t some of the respondents among those who left Simons’ shows gushing?

Back to the commerciality issue: Was a proper infrastructure ever installed at Jil Sander? I don’t know. There have been mentions of the company’s inability to build an accessories business. Was that essential support in place? Though one bum handbag does not a production crisis make, I wonder. At Christmas, I bought a glorious Sander runway bag, only to discover that day that the handle leather had split. A production issue; not a design issue.

On point two, let’s assume that for whatever reason, Onward Holdings Co. Ltd. and Gibò Co. SpA decided it was time for a change. It’s their right. No matter how talented, respected or productive one has been within the workplace, as well-employed people from Tom Ford to Peyton Manning know, we all serve at the discretion of management. Perhaps, despite her prolonged absence from the workaday realities of luxury fashion, Sander’s abrupt availability after her split with Uniqlo was too enticing to resist.

That doesn’t excuse the clumsy handling of the change — even given that the press, primarily my dogged colleague Miles Socha — was all over rumors that started percolating weeks ago. Where did they come from? I have no idea, but their escalation just might have had something to do with Sander strolling openly around Première Vision, and, when asked why by WWD Japan, responding that the announcement of her next project would come during the Milan collections.

It’s hard to believe that this longtime master of the Garbo technique didn’t consider that silence (or just not being there in the first place) might be golden. Surprising conduct from Sander, who loves to project elegance of behavior. (Nor is it her first suspension of such; when retailer Janet Brown, who was among Sander’s first and most impassioned U.S. champions, died, Sander refused to contribute to Brown’s obit with more than a one-line comment.) Knowing well in advance that fall 2000 would likely be her (first) last show at the then Prada-owned company, Sander orchestrated it to the nines, the presentation calm, the audience “intimate” and her show notes offering words of fortitude. She’d been able to write her own exit scene; she wasn’t blindsided. As it turns out, with far less time for psychological preparation, Simons’ show, and the spontaneous audience outpouring, felt genuine and moving. No matter. It’s surprising that Sander would act with such apparent disregard for another designer.

The chapter may be written, but not the book — or books. Sander may have a lot of fabulous fashion left in her. We know Simons does. Here’s wishing them both all the best.
Edited by _yoo - 2/28/12 at 11:18am
post #296 of 551
Thread Starter 
Also this month's W Magazine has a pretty nice interview where Raf talks about his "aesthetic obsessions".

a fashion-related bit:
The main people for me when I started to look at fashion were Martin Margiela and Helmut Lang. I also had an obsession with Stephen Sprouse. Historically, Dior and Balenciaga influenced me the most. Nothing in fashion, though, has had more emotional impact on me than Martin Margiela’s third show. It was 1989, and I was an intern for Walter Van Beirendonck. He took me to two shows: this huge Jean Paul Gaultier spectacle, with the girls dressed as nuns and Neneh Cherry sitting on a Thonet chair; and Martin’s show, which was in a playground. They’d asked the kids’ parents for permission to use the playground, and they said, “Yes, but only if our kids can come.” The models appeared in long white clothes, and suddenly the kids started to play with them. It was so moving. Everyone was crying. Me too. Martin is the one who made me decide to do fashion—and when he left fashion, I decided to collect his clothes. I know his collections inside out, so I started to build an archive of them alongside my own.
post #297 of 551
that was a much needed article on behalf of bridget foley. couldnt agree more. even ysl's pitali is getting his fair bit and having some discretion till his final show. in retrospect, i am truly going to miss raf for jil; sometimes the main raf line gets a little too out of hand or cheeky for me to digest, but jil by raf was always closer to that softer sentimentality of punk that make clothes impactful but wearable.

and on that note:

post #298 of 551

Unique Jil Sander lace-up on Zappos! The same style only found on Oki-ni before. Size 9 and 10 left.

post #299 of 551

Three more online stores to add to the Raf stockists list -







post #300 of 551

Holy shit.





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