MFW: About Jil Sander

September 24th, 2011 by Michael Latour | Print

Its interesting to note that the two strongest shows of Milan Fashion Week (so far) looked back to the mid-century. Like Prada, Raf Simons conjured up a bygone era of glamour and innovation in his collection for Jil Sander, making a very strong case for a polished, coolly calculated approach to dressing that simply doesnt exist in this day where most women try very hard to look like they didnt put any effort into their appearance at all. The collection started out with untouchable, expertly tailored reinventions of the white shirt as cotton and poplin dresses, most of which had tiny bits of crystal embroidery discreetly attached to pintucks on the waist. From there, he worked in a series of elegant separates in bright paisleys followed by knit sweaters with renderings of iconic Pablo Picasso works—this in itself is noteworthy because Picassos estate has never allowed anything like this to be done before. The show ended as it began, with the white shirt (this time made into chic, simple wedding dresses) and the grande finale clearly worked. When Simons took his bow, the room, filled with fashions most notoriously impenetrable editors, began cheering wildly like football fans. He had delivered the kind of energizing moment that one goes to fashion week in search of, but doesnt always find.

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