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◆ The JIL SANDER & RAF SIMONS shopper thread ◆ - Page 23

post #331 of 551

But... it's 'exceptional' frown.gif.


I have a feeling Raf is in trouble.  There's been some cool pieces but the seasons overall haven't seemed to light any sparks, and now there's an archive sale.  Strangely, the 1995 line might save him...



post #332 of 551
He needs no saving ... He is Zen

post #333 of 551
Yeah, Raf will be alright, he has a plan

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chillax KingJulien, 'sall good

post #334 of 551
Someone find me the raf sleeveless button up from spring think it was white and blue no pics at the moment.
post #335 of 551
You mean the one yoo posted on the previous page?
post #336 of 551
nah different, white and blue bottom half
post #337 of 551


Originally Posted by sipang View Post

Yeah, Raf will be alright, he has a plan
Warning: Spoiler! (Click to show)

525 525
chillax KingJulien, 'sall good




post #338 of 551
Thread Starter 
^jet I saw a different version at, but not the runway version which (I think) you wanted

for records..
WWD: Dior Names Raf Simons Its Next Couturier Warning: Spoiler! (Click to show)
PARIS — Christian Dior has named Raf Simons its next couturier, and said he would unveil his first collection for the house during Paris Couture Week in July.

His official title is artistic director of haute couture, women’s ready-to-wear and accessories collections.

The appointment marks the end of a long search process that has captivated the industry, and it confirms a report in WWD on Dec. 13 that the fabled French house was closing in on Simons as the successor to John Galliano, who was ousted in March 2011 following racist and anti-Semitic outbursts at a Paris café.

Simons becomes Dior’s sixth couturier. Successors to the founder — who ignited post-war Paris with his extravagant, full-skirted New Look, and whose brief career ended with his death in 1957 — also included Yves Saint Laurent, Marc Bohan and Gianfranco Ferré.

Simons is also the second Belgian designer to arrive at Dior in recent years. Kris Van Assche has been at the helm of Dior Homme men’s wear since 2007.

Dior’s choice of Simons suggests the house is ready to nudge its fashions in a more modern direction — given his predilection for minimalism and futurism — and turn a page on the retro-tinged glamour Galliano plied over a stellar 15-year tenure.

The appointment is also sure to ignite a fresh rivalry between Dior and Yves Saint Laurent, which just named Hedi Slimane its creative director. Slimane was the designer of Dior Homme from 2000 to 2007.

NYT: Dior Selects Raf Simons to Replace John Galliano Warning: Spoiler! (Click to show)
The job at Dior has finally been filled.

The Paris fashion house announced late Monday that Raf Simons will take over immediately as artistic director, replacing John Galliano, who was fired from Dior last year after he made anti-Semitic remarks. His first collection is planned for July at the fall haute couture shows.

The choice of Mr. Simons culminates more than a year of discussions and apparent soul searching by Dior and its boss, Bernard Arnault, who is chairman of LVMH, about the ideal person to give creative direction to the 66-year-old luxury brand.

In an interview Monday, Mr. Simons expressed delight at the appointment. “The first time I heard about the Dior position,” he said, “I thought, ‘This feels right.’ ”

Marc Jacobs, the American star at Louis Vuitton, was a favorite until talks broke down late last summer, reportedly over compensation. Other big names, including Alber Elbaz of Lanvin, rejected Dior’s advances. Highly regarded or not, Dior seemed to have trouble finding someone.

In October, its chief executive, Sidney Toledano, said the search could take months. A few weeks later he, Mr. Arnault and his daughter, Delphine Arnault, the deputy director of Dior, began talks with Mr. Simons.

At the time Mr. Simons, 44, was at Jil Sander. But while Mr. Simons is influential, having started the trend for bright colors that has washed over much of the affordable clothing market, and was in discussions in 2010 with the French rival PPR about taking over Yves Saint Laurent, he was not widely seen as a candidate for Dior. His minimalist designs for Jil Sander seemed at odds with Dior’s ultra-femininity. And he is a low-key presence in a business that tends to love Barnum types.

At his studio in Antwerp, where he has run a separate men’s wear business since the mid ’90s, he often answers the phone himself.

Dior was founded on frivolous yards of expensive French silk as Europe lay in ruins from World War II. The shock of Christian Dior’s New Look, with its tiny waists and generous skirts, gave the house a reputation for excess, as well as a taste for headlines. In 1996, seeking to capitalize on that legacy, Mr. Arnault replaced the cerebral Gianfranco Ferré with a former British punk, John Galliano. He quickly ripped into Dior’s stodgy image — literally.

A 2000 couture show was based on the clothes of homeless people. Although Mr. Galliano’s techniques led to a wave of deconstructed and frayed fashion, Dior was criticized (at one point during the uproar, riot police surrounded the house), and Mr. Galliano had to apologize.

His creative excesses continued to be celebrated, if not indulged, by the press as well as his bosses. “I would never put a limit on my goals,” Mr. Galliano told the writer Michael Specter in 2003. “I would love to see what a John Galliano airplane would look like, or a hotel.” His runway appearances, which demanded a special outfit and dramatic lighting, were part of his act, although they increasingly indicated a fragile, isolated personality.

Revenue for Christian Dior Couture, which includes ready-to-wear and accessories, grew steadily over the decade, to $1.39 billion in 2011.

Then, in February of last year, Mr. Galliano wrecked his career with an anti-Semitic rant caught on a cellphone camera. Fired from Dior, he was later found guilty by a French tribunal in connection with two separate bar clashes in Paris with people who accused him of hate crimes. He told the court he could remember nothing about the incidents, blaming his behavior on job stress and addiction to Valium and alcohol.

Temperamentally, Mr. Simons is the opposite of Mr. Galliano, who, according to a close friend, admired Mr. Simons’s show in February for Jil Sander, a collection of delicately feminine clothes in pinks and beige. It was also Mr. Simons’s last for Sander. He was fired shortly before the show, replaced by the brand’s founder.

Although discussions with Dior were always ongoing, nothing was firm, and there was a lag during the ready-to-wear shows, which ended early March, perhaps to avoid media attention. Talks resumed soon after.

At the same time there was speculation among American retailers and journalists that Dior might decide to retain Bill Gaytten, its studio chief, who has supervised collections since Mr. Galliano’s dismissal. Also, in separate but intriguing news, Saint Laurent announced it was replacing Stefano Pilati with Hedi Slimane, the former men’s designer at YSL and subsequently Dior.

In the men’s wear arena, Mr. Simons and Mr. Slimane were seen as rivals. And they are likely to be so again as Mr. Simons expands into haute couture and Mr. Slimane takes on women’s fashion for the first time.

“Of course I haven’t been in the archives yet, but for me the strongest impact is the first 10 years of Dior and how to link that to the 21st century,” Mr. Simons said Monday. “Mr. Dior was very innovative during a short time span. And it was in the middle of the 20th century, a period I am very interested in, whether it’s linked to fashion, architecture or art. So I find it very challenging to rethink couture.”

He added: “I’m not one of those people who would say, ‘Ah, couture makes no sense anymore because everything today should be accessible.’ Clearly there is an interest from people in this level of creativity.” And because haute couture has few limits, it is already provocative, he said, “considering what has happened in the last 10 years, with fashion becoming more mass-produced.”

While not the obvious choice for Dior, given his history in avant-garde men’s fashion, Mr. Simons is nonetheless the logical one. In his six years at Jil Sander he expanded its minimalist form to include more feminine shapes, some based on ’50s couture. (In the interview on Monday, Mr. Simons noted Dior’s affinity for naming his collections after shapes, like Corolla and Figure.)

More telling are his men’s shows, in the mid ’90s, in which he often projected a generation’s ideas and obsessions against a monumental backdrop. A romantic is surely what he is. His contract with Dior allows him to continue his own men’s line. Among his responsibilities will be overseeing advertising and lending his opinions in other areas as needed.

He faces challenges at Dior. One is to fully grasp the demands of a global brand, especially as it spreads through Asia (the company recently opened a new flagship in Taipei) and in emerging markets. Dior also has the opportunity to sharpen its signature look, so that its apparel is recognizable in the street, as Chanel already is.

Asked if he had concerns about the pressures of a big house, Mr. Simons said he did not. “I’m someone who takes responsibility,” he said, adding that his approach is collaborative. “I’m not an isolated person. The more I connect to people, the more I have the feeling that things work.”
post #339 of 551
Thanks brosef, guess nobody got it.
post #340 of 551

I'm so happy for him!

post #341 of 551
Thread Starter 
NYT (Suzy Menkes) has more comments from Raf himself, he said his aim is a 'very modern Dior' and talked about his mid-century fascinations. stirpot.gif
Warning: Spoiler! (Click to show)
Dior Turns to Raf Simons
The Belgian designer Raf Simons was named late on Monday as the next artistic director of Christian Dior — a post that had been empty for more than a year since the dramatic departure of John Galliano in March 2011.

“I feel fantastic,” Mr. Simons said by telephone from his studio in Antwerp. “It is one of the ultimate challenges, and a dream to go to a place like Dior, which stands for absolute elegance, incredible femininity and utter luxury.”

Mr. Simons, 44, began his career in men’s wear in 1995 and went on to revitalize men’s and women’s lines at Jil Sander 10 years later.

Now he has been chosen by Bernard Arnault, chairman and chief executive of LVMH Moët Hennessy Louis Vuitton to modernize Dior, the most classic of Parisian couture houses. In a statement, LVMH said that “Raf Simons’ journey with the house of Dior will propel its iconic style into the 21st century.”

Mr. Simons will be in charge of haute couture, women’s ready-to-wear and accessories, starting with the couture show in July, while keeping his eponymous men’s line.

Mr. Arnault and Sidney Toledano, Dior’s chief executive, began searching for a new designer after Mr. Galliano was removed from the post because he had made anti-Semitic slurs in a bar in Paris.

Several designers said they had turned down the house, apparently seeing a post-Galliano role as a poisoned chalice.

The front runner, the American-born Marc Jacobs, design director of Louis Vuitton, decided to stay where he was. In the meantime, design direction at Dior was in the hands of Bill Gaytten, Mr. Galliano’s former assistant. LVMH’s financial figures for 2011 show that Dior’s results were not affected.

Mr. Simons’s name had been bandied about with other supposed contestants in recent months, particularly after his on-off courtship by the house of Yves Saint Laurent ended. The Dior appointment is being made as the designer Hedi Slimane, once a men’s wear rival of Mr. Simons’s, takes on the top job at Saint Laurent, the fashion house owned by PPR, a major LVMH rival.

The Christian Dior heritage began with the romantic Mr. Dior himself, a man who brought femininity to the postwar 1950s, building the tiny waists and sweeping skirts of his voluptuous “flower women” on his obsession with the Edwardian elegance of his early memories of his mother. He died suddenly in 1957 after only 10 years at the helm, to be followed by a young unknown, Yves Saint Laurent.

Mr. Simons’s style could not be more different from that of the founder: He has a modernist vision and a spare, linear style based on fine tailoring. “My aim is a very modern Dior, but at the end of the day, I also look back,” he said, referring to what he calls “mid-century modernism.”

“I find that period between 1947 and 1957 extremely attractive, and there was a lot of modernity,” Mr. Simons said of Christian Dior’s designs. “There was the romantic appeal looking back to his mother and the belle époque, but there was also a constant evolution in shape, changing proportions and the ideas connected to the World War were revolutionary.”

Mr. Simons comes from the Flemish town of Neerpelt, the only son of a modest family. His mother worked as a house cleaner and his father was on military night watch. Some of that uniform severity may have been worked into the spare lines of early men’s collections, where the obsessive focus was the angst and tension of youth culture and the beat of the Belgian music movement.

“But my father was not a strict man, it was a warm nest,” Mr. Simons said, adding that his interest in fashion was more about escaping from a Catholic background and a rigorous college full of students aspiring to become lawyers or doctors.

While Christian Dior embraced flower gardens and the decorative stage sets of his artist friend Christian Bérard, Mr. Simons trained as an industrial designer in Genk before trying men’s fashion. His world was defined by one of his earliest shows for autumn winter 1996-97. In “We Only Come Out at Night,” youths with skinny bodies, sculpted faces and sensual lips dragged on cigarettes and reveled in their adult-free world.

What does all that — or even the sharp, precise tailoring in the minimalist Jil Sander mode — have to do with the haute couture collection that Mr. Simon will show in July, followed by his first Dior ready-to-wear collection in the autumn?

In fact, the designer’s recent women’s collections for Jil Sander seemed to have walked away from the sleek severity of Ms. Sander, who is returning (and not for the first time) to her own house.

Taking a role as couture architect rather than decorator, Mr. Simons has shown ball-gown skirts, albeit with stark white blouses, elegant day dresses in paisley patterns and splashes of Picasso. For his winter 2012 show, there were tailored coats clutched over soft dresses in the powdery, pastel shades that suggest a modernist romance.

The problem for Mr. Arnault has been to replace the boudoir glamour and fantastical imagination of Mr. Galliano. The executive needed a designer who could tip Dior toward the 21st century.

It is generally believed that Mr. Arnault’s daughter Delphine was influential in the choice. She is a modernist with a penchant for the streamlined, feminist clothes from the LVMH-owned Celine brand. Ms. Arnault updated Dior’s iconic bags in a collaboration with the Berlin graphic artist Anselm Reyle.

Mr. Simons, often spotted at the Frieze Art Fair in London and a collector of contemporary art, seems to fit that groove. The crazy days of Galliano shows, offering couture as theater, belong to another era. Yet Mr. Simons too has a history of imaginative presentations. A “Kinetic Youth” men’s wear show in 1999, with David Bowie’s “Space Oddity” playing, while street-sourced models appeared on concrete walkways under a vast mirrored globe, was topped only by the 2005 “History of the World.” That show expressed the futuristic modernity of streamlined tailoring against a backdrop of moving escalators, from which Mr. Simons, for the first time, showed his face at the finale. He says an escalator’s malfunction forced him to appear.

Far from a performer or a designer comfortable with public display, how will Dior’s new star handle the meet-and-greet of American trunk shows and the bows taken after major presentations made throughout Asia, especially China? “I have learned that the audience likes that,” he said. “I wouldn’t say that I am a public person, but when you have a voice, people want to listen.” He said his early resistance to appearing in public came from his shyness “that I overcame slowly but surely.”

The most crucial thing for a designer in any art form is to be relevant. In that, the Raf Simons shows seem to be eerily prescient. In an abrupt switch from the “isolated heroes” in their slim-fit schoolboy sweaters in 1999, the new millennium brought a show of anarchic figures in baggy hooded jackets, Arabic scarves and camouflage coats staging a riot on a bare, scaffolded set. It was two months before the terror attacks of Sept. 11, 2001.

A 2004 show staged outdoors as a group of wandering hippies was in stark contrast to a 2009 runway of conservative tailoring, strong on formal elements, that seemed to abandon youth culture. In retrospect, it seemed to foretell the banking crisis.

Mr. Simons’s skinny, moody youths set a style for men’s wear that also was taken up by Mr. Slimane. His Dior homme collections with thin, androgynous models created the hottest look in town, the shows pulling in a mighty audience, headed by a transfixed Karl Lagerfeld.

Mr. Slimane left fashion abruptly in 2007 to concentrate on photography. His debut at YSL in October will be his first stab at women’s design. The designer Kris Van Assche remains in his role at Dior Homme.

All this must have been in Mr. Arnault’s mind; he has always insisted that creativity is paramount in keeping a heritage house alive.

Next season, when Mr. Simons pits his vision against Mr. Slimane’s, it will be one of those epic standoffs that fashion has seen many times before — not least when Christian Dior’s romantic elegance faced the lofty sculptures of Cristóbal Balenciaga.

But why should Mr. Simons, with his history of creating streetwise clothes, be interested in the endangered species of haute couture?

“It is not always right to judge everything in terms of commerciality,” he said. “In the art world there are collectors, curators and an audience, and they are all important. I am fascinated with what could be the relevance of the language of couture in the 21st century.”

This article has been revised to reflect the following correction:

Correction: April 9, 2012

An earlier version of this article misstated the town where Raf Simons trained as an industrial designer. The town is not Ghent, it is Genk.

Some press images of raf/jil ss12 collections i forgot to post... Warning: Spoiler! (Click to show)
post #342 of 551
From the Times piece: "Several designers said they had turned down the house, apparently seeing a post-Galliano role as a poisoned chalice." Interesting. I know about Marc Jacobs, but that was supposedly over money. I wonder who else they offered it to and how far down the list Raf was.
post #343 of 551
There is a whole two part thread on thefashionspot for that exact question. I say it would be best to take a gander in there.
post #344 of 551
Quick question about recent Jil suiting, just got a staple grey one today and it feels half canvassed. Upper definitely is and the pinch test between the two buttons seems to be canvassed, however, below the second button I'm not feeling the third layer? Posts here and Ask Andy seem to say that all Jil suits are fully canvassed? Is this a result of their 3D thing they say on the tag?
post #345 of 551
i believe pinch test.
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