The demeanor shown by Raf Simons is one that is both held in strong conviction, unquestionably unwavering and certainly highly influential. But why is this and far from being anything conservative, Raf Simons’ ever growing co-contributions for his own entity and designing for the now focal Jil Sander, it is quite intriguing to realise that his phenomenal success as a designer starved from the non-existence roots of any knowledge for foundation art with his country of birth only supporting the migrating music culture across the European continent.

Described by Luc Derycke in August 1999 in a co-edited book title with Sandra van de Veire, ‘Belgian Fashion Design’ it made no relative sense in trying to define the term ‘Belgian Fashion’. For the country and its inhabitants from a third eye perspective, the social community and the working textiles/fashion industry were much conservative so as to lack any real innovation or prowess in a push forward for the notion of post 1970’s fashion to have a completely new and original setting, rather than to reflect the flower culture that was widely associated at the time with the burgeoning environment and squat dwellers in Amsterdam. There was a slight thread of feeling that the country wanted to outgrow itself and become a geographical locality with much to offer, as to greatly challenge the perceptions the prominent cultures centres like Paris had and become on even par with that city.

‘The few Belgian designers around might have been amazing craftsmen or sensitive artists who expressed themselves by way of clothes, stubborn weirdos, unacknowledged geniuses. They weren’t seen as créateurs unfortunately.’

The incredible earth-moving change unquestionable started with Mary Prijot’s involvement with the now established Fashion Department at the Royal Academy of Fine Arts in Antwerp. The world attention and stage grew exponentially with what as labelled as the ‘Antwerp 6′ including rolling names of Ann Demeulemeester, Dries Van Noten and Martin Margiela with their bandwagon crossing to London in the late 1980’s. The country that was previously denied a fashion status was creating unprecedented waves of history for itself without realising the impact and enormous influence on young aspiring fashion hopefuls today.

Luc Derycke pointed out the world being succumb to the disasters of the first and final two world wars that took place and the preservation for total dominance of a social governance and an uniformed modernist society was no upheaval for industrial liberalism. But the outlook for work examples by Japanese designer Rei Kawakubo for example was a profound direct and indirect focal point that Belgian Fashion Design was not trying to superimpose or perceive itself in an expectant look or to greatly complete the modern day dresswear for men and women or even anything at this point decadent. The changing landscape of people’s dreams, mind, body and soul which has now attributed much of the outward success for someone such as Ann Demeulemeester. But like herself, they were in full awe that things needed to be audacious, experimental, a complete process and commitment and an embodiment to change old ways of thinking making what was considered Fashion. To not compromise on design or quality, having integrity and to focus on concept and composition and staying true to one’s self and personal beliefs is as determined by Mary Prijot a discipline.

But you would have thought Raf was busy away on setting himself as being the next generation fashion designer alongside Veronique Branquinho. Actually, no. As most people are now aware, he started his studies in Industrial Design that for him was labelled as being quite ‘hardcore’, to say the least. He describes his early childhood experiences as:

‘But I wasn’t aware that an art academy or a fashion academy existed. I was in a stupid little village. There was no culture. There was nothing.’

Ditching and hiding from his Industrial Design school during the time when he was suppose to be honing his skills at a design studio, he opted to try and seek a secret internship with then Belgian designer Walter van Beirendonck to work alongside him on his collections for Paris. It is with this succession grew for Raf Simons. He realised his true calling was to be working as a fashion designer even though his work in which he created for Walter was produced objects as props for his collections, on discovery that Walter liked his ‘egg holder’ rather than his fake bad magazine design covers that he created as a portfolio in initially trying to convince Walter for an internship.

‘Because I remember when I saw Martin Margiela’s show, I was like ‘I’m wrong. I don’t want to do industrial design”.

The wardrobes if carefully considered by fashion followers with a middle to upper class background were certainly entrenched with Yves Saint Laurent, Chanel and Gucci and was there anything wrong with this when you could see the clothes and vision was downright beautiful and it didn’t matter how much a flowing dress or a pair of ankle flats were, if there was money to be spent it ought to be on the loyalty of a renown fashion designer.

May as it were with chasing the American Dream, building a complete expensive lifestyle, the sense that the desire for power and materialistic things it was Raf’s psychological and scrupulous appreciation for culture, music and fine art certainly with his musical love for the British Post-Punk wave movement and his studies in Industrial Design that he sought the anarchistic, independently-minded and antagonistic personalities in the adolescene of the young as his source of inspiration and motivation. For with which, was to become in 1995, the establishment of his own namesake company ‘Raf Simons’. And this was on the outset which he commented:

‘No I studied Industrial Design. Can you believe that?’

Raf Simons, Spring/Summer 2009

Perhaps the Belgian discerning youth consider Raf as a shining light that you can break traditional pursuits and rules, there is such an existence as finding your own feet and path in a home country and realise there is much to learn and discover. It’s not the fixation of attempting to create a polished collection. Like Martin Margiela’s reworking of old, vintage and recycled clothing pieces and revitalising it, Raf challenges himself in delving in the social construct, the moods and attitudes of young people that surrounded him. There is to him an incredible amount of depth. It was synergy of looking at this masculine outline that man have been used to since forever and it what ways could he set himself to construct it different; an unusual and often experiemental proportion and cut of a length of a dress shirt or pants. In that, Raf would naturally unearth an individual sense of fashion that was an occurrence of inhomogeneous style and that the energy transcended by his typically un-professional male models is a direct and personal relationship to understand a generation younger than his.

‘I work with the guys on the streets and their approach to what we are doing is so different - but for me very interesting. Because at the end I am also concentrating on a language that is meant for a certain generation.’

It is difficult not to have then come past the Spring 2009 collection that he designed for his Paris presentation. The general and overall outlook for most if not all shown collection was the deep sense a man in a nonchalant manner - loose fitting and uncropped trousers with the duality of overhanging jerseys and jackets. A powerful direct contrast in response, it was as Raf described it as the antithesis of the ‘anti-pajama’. Gone was the chino pants or waist trousers, it was a sleeveless jumpsuit, which sought to be a contrast in scale as highly cropped shorts in smooth black acted as a recurring anchor point in the collection. Meticulously cut single breasted jackets completed the men’s silhouette alongside inner tank jersey tops in signature black with an exterior of a fine textured dotting effect which rather than become a supporting and detracting feature, the gradient acted as symmetry and a piece of futurism. There is no doubt the purity in his strict beautiful tailoring sought to be a refinement to keep what was absolutely necessary and destroy what was not. As however the metallic vest coat with the the gradient metallic it instantly draws you to a possible source of inspiration to the classic and focal design record cover of Joy Division’s ‘Unknown Pleasures’ in 1976.

Raf Simons, Jil Sander Spring/Summer 2007 (pictured)

It is then quite unexpecting that the world who have may have been waiting on a known fashion maverick or a leader in fashion with the traits and long line of successful collection trimmings. It is in fact a man who has lived without the treasures and luxuries for which are naturally acquainted with what is needed to be an up and coming designer. This has evoked an audacious but carefully mastered sense of tailored clothes of a meticulous and to near pure perfect conduct for the expense of not seeking global commercialism and an indefinite source of wealth and fame. No this certainly is not Raf.

Still very difficult to completely define what or how we consider what can be noted as ‘Belgian Fashion’ though today we can easily assess it’s momentous contributions to contemporary Fashion as the number of Belgian designers outweigh the locals in Paris. As noted in ‘Belgian Fashion’ by Luc Derycke and Sandra van der Veire that a natural rise in Belgium is quite a phenomenon that no one could have ever imagined. But as with everything, there was optimism and with that came Raf Simons. As quiet and reserved as he is, preferring a private one on one chat than to be on stage and speaking publicly his carefully structured work although at times may not be suitable for all males, his clothes are, very real.

Please read a full written interview with Raf Simons by Craig Garrett here.

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‘Infinite Ingress’, Interview with Raf Simons by Craig Garrett
Derycke, L, Van De Veire, S. (1999) Belgian Fashion Design. Bruges: Belgium
Spring/Summer 2009, Photography by Marcio Madeira for Style.com

Can we safely say it was a pandemonium when Paris unveiled last week the Spring/Summer collections for menswear? Flying testosterone and flexing masculine muscles seemed more fitting to an eventful week with showings dominated of course by the Italian companies with the annual luxurious inclusion of Dries Van Noten, Lanvin, Raf Simons and Ann Demeulemeester. Stylistic, boyish and immature looks welcomed a new season of menswear marketability. One image that could have summed up the week is sucking too long on a gobbestopper leaving you sweet-sour dead for more or being gobesmacked by the extraordinary sight seeing your triple layer mango passion fruit ice cream from the delights of Darrell Lea melting away at your fingers tips with the asphalt ground licking the sweet surface. Bang out the door was for any real sensible normality and Paris Fashion Week for men was a cross-pollination of an ubiquitous appearance with pinstripe and loose fitting blousons, diagonal shape pattern prints and front graphics pushing the men’s wardrobe for this season as relaxed as being on a cruise yacht or hazing the summer day’s as an Italian stallion. Lanvin menswear always outdo themselves giving the man of being cool and relaxed - jelly sandals that have been seen made for women by Chanel with short denim pants, double-breasted jackets, loose fitting caramel trousers with the added parka coats and long sleeves trench coats. There was a strong drive for pleating and giving the loose trousers and shirts elasticity rather than being too streamlined or stovepipe. A contrasting multi-layering effect which gave the clothes a vibrant exterior texture and dexterity and a mode for capturing a decadent movement.

It was trying to subvert the formality in structure of a tuxedo suit in Raf Simon’s direction with the v-shaped buttoned jacket, half-tone block colours with toned black trousers. He severely cut down the details of the suit that of which became a tunic or a cloak with trimmed down short pants in turn giving the appearance of a very high crotch. Vest coat shirts were accompanied by tweed jackets and slightly rigid breasted jackets that followed from his work for Jil Sander womenswear a few weeks ago. Ann Demeulemeester seemed to have gone back to her roots by reinventing Flemish countryside wear. It was however centered around German-Swiss writer Herman Heese whereby in 1943 completed his novel titled ‘The Glass Bead Game’. The scholarly novel was a human mind’s pursuit of spiritual intellect and understanding within a futuristic realm set in the 25th century reserved for the Intelligentsia. The description of this game from Wikipedia says:

‘At the center of the monastic order lies the (fictitious) Glass Bead Game, whose exact nature remains elusive. The precise rules of the game are only alluded to, and are so sophisticated that they are not easy to imagine. Suffice it to say that playing the Game well requires years of hard study of music, mathematics, and cultural history. Essentially the Game is an abstract synthesis of all arts and scholarship. It proceeds by players making deep connections between seemingly unrelated topics. For example, a Bach concerto may be related to a mathematical formula.’

It seems Ann’s clothes tries to communicate our youth even in our old age wants to seek possibly the elixir of life to live longer in order to seek life’s biggest problems. Pieces in the collection remain respectful and dark in the double breasted jackets and long cloaks, black dot printed slouchy trousers, white blouse shirts and folded striped pants. Very precocious. Dries Van Noten, his signature note as regularly working with flora delivered an American 1950’s suiting collection. Round cut collars, perfectly cut cuffs - the blazer jackets are much broader in the chest, metallic textured peacoats and Art Nouveau sleeved tunics were featured.

Here are some other highlights from Paris Fashion Week for men:

Ann Demeulemeester
Dries Van Noten (right)

Jil Sander
Raf Simons (right)

Yves Saint Laurent

While the hustle and bustle of the individual collection for the Parisian and international elite faithful were quite happily sitting in the schedule runways, to gain the full picture of what the city has to offer is to also know the trade fair shows happening all over in different districts. Two of the standout events, Rendez-vous Paris and Tranoi capture the attention of all international designers in grabbing the opportunity to secure new buyers and sales. Tranoi being more prominent than the former is run by Michael Hadida, apart of the family who also manage the boutiques of L’Eclaireur in Paris housing the rich faces of Lanvin, Balenciaga for Men, Ann Demeulemeester and Rick Owens. Annually, a considerable amount of men’s and women’s labels converge for men’s later this month.

Richard Nicoll, Spring/Summer 2009 (pre-collection)

Richard Nicoll showed earlier this month in Paris for his Spring/Summer 2009 with previous showings in New York and his hometown of London. Beautifully cut men’s shirting created a fusion for deep enriching colours of orange, pink, prussian blue and metallic red created the condensation of spring and summer. Knee length dresses in light woven silk with shoulder ruffles, double layer shirt dress with inner transparency - a deep pink dress cloak, long sleeve collar shirt with matching silk waist trousers beckoned a symmetrical tone. Importantly, the collection remains structured with the high strung waist belts and double layering constitutes the self-empowerment Richard has always strived for. He doesn’t design for a muse in mind or in fact an ideal woman but the colour block prints could allude to the sexual identity of women giving a masculine effect of control.

Hey, women do have a small percentage of testosterone (please also see Nick Earls’ 48 Shades Of Grey). Fellow Australian Josh Goot predominantly uses the palette in mind but his clothes are more feminine and quite loose. From a textile technical point of view, the colours have been beautifully produced and he may have possibly use a dying process like Shibori which gives it a tonal surface.

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Paris Fashion Week, Photography by Marcio Madeira for Style.com
Richard Nicoll, Spring/Summer 2009 - Photography by Richard Nicoll

Jil Sander, Autumn/Winter 2008 collection

When in 2007, after the launch of the Autumn/Winter 2007, The New York Times writer for Fashion Cathy Horyn spoke how little known Raf Simons was as a womenswear designer. It’s true to say the embarkment for him not as a complete departure from his own self-titled company but for Jil Sander was test to see whether or not Raf could carry on the luxurious minimalism set out by the company’s German sharp heritage. In one sense of being so overwhelmed by the other international collections that were not besieged by the difficulties between Jil Sander and Miuccia Prada’s husband and business partner Patrizio Bertelli (with in 2006 the Jil Sander company became completely owned by British company Change Capital Partners), the name of Raf Simons did not appear familiar as one that would become one of today’s acclaimed designers. But of particular note is his sense of bringing together the fascination of urban street experiences and trying to understand and manipulate the social ambigious identity through for example, the stillness performance of a number of male models all wearing uniformed full-red blooded collar dress shirts and black pants and the use of red lipstick and dark makeup. This play of both identity and dress sense has caused a need to push for a social code that cannot be restricted by standard rules or ignorance. So what has been the result of Raf’s direction for this current season’s Jil Sander Autumn/Winter collection for women?

It has become more apparent and obvious that as a designer, the reach or goal after three seasons is a sense of brooding chemistry with choice and confrontations of limitless fabrics and how each garment piece is conceptualised. Raf after his initial workings with the first production of Jil Sander has become in such a way that he is pulling the strings together - more in rhythm, tune, tone, pace and overall tightness. His experimentations and embodiment for what would be described as an empowerment of business or entrepreneurial women in the previous Autumn/Winter 2007 collection, noted by The New York Times writer Cathy Horyn as one not too have stood up with standing ovation, the expressionist theme revervently considered the towering case and charcter with the certainity and convictioned use of close glove navy pants, ribbed collared long-sleeved sweaters, patterned skirt and the striking metallic blazer suit and silver bronze metallic pleated dress. His Spring collection had entailed bright, vibrant colours but his more wide sense of a metallic palette drives his motivation which had hughly materialised for this new season range.

A difference in outcome for the garment pieces is immediately seen with the non-existence of tighly collared sweaters and long arm coats. This had to do with Raf’s decision to interchange the roles of his dressmakers and tailors, temporarily swapping their roles to see how they could approach the collection differently. The result is more architecturally precise, defining more proportion but also remembering to add volume to special focal points. That is the emergence of the funnel, curved shaped neck lines that looked quite structured in appearance, slim evening dresses with a dress-tailored collar jacket and matching pants, men’s inspired shoulder double breasted v-shaped jacket; use of wood and tweed for tightly neck dresses that supported front darts and beautifully dressed buttoned breasted suits of dark navy. The collection as a whole unraveled itself more so that just trying to create an austere, governed one that appropriated itself for corporate dressed women, If in a sense, a little bit free is from cultural references in the case of airplane stewardesses in modern aviation and in objective point that Belgian designer, Veronique Branquinho spoke about of her past Spring/Summer 1999 collection:

‘The image of an old-fashioned governess, strict, inaccessible and intriguing, seductive at the same time.’

Again, Raf has interlocked how he has wanted Jil Sander’s new collection to be perceived but he has not completely restricted an antique look. Beautiful stitched grey, white and black patterns and lighter white and blue tones complete an image of silent audacity. In behind it all, is there a minimal grappling sense of melancholy? The models look more bright complimenting their fair skin tones but the high neck draped shapes seem to be something from ‘The Devil Wears Prada’ or Walt Disney’s ‘101 Dalmatians’.

There has been one noted aspect about Raf Simons, coming from a self-taught menswear background and it speaks of his passionate and romantic idea of Futurism. Speaking with Alice Fisher in February of this year from The Observer he converses:

‘If I see a fashion show with literal influences, it doesn’t make me think any more. It doesn’t make me dream. I fantasise about what the future could be in terms of aesthetic and psychology. It’s the most difficult thing to do because you have to start from the past - your favourite architect, your favourite song - you take it all with you.’

Some may still be slightly confuse or attempting to fully comprehend Raf’s judgements and pragmatic vision for Jil Sander. He has certainly re-worked his close-knit design team of among dressmakers and tailors to keep challenging what is right for the chemistry of Jil Sander. However, Raf’s robust and highly industrialised approach can be realised of someone not in the world of Fashion, well not entirely. Current accomplished and recognised furniture and product designer Marc Newson has captured the essence of fulfilling what can’t be done or impossible to produce and yet, the creation of for example his ‘Wood Chair’ in 1988 and his ‘Fibreglass Felt Chair’ in 1989 were both produced by Italian company Cappellini. The transparent and energetic fluid lines and to reach what might be inherently too difficult to manufacture or grasp in the sense of a designer’s imagination, even if wood as a material is restricted in what it can become when cut is in the same way; for Raf the absolute power to hardness and universally communicate an eloquent and timeless dresscode, always reaching that little bit of industrial perfectionism in chosen luxurious fabrics which makes the narrow close fitting matching jacket and pants a condensation of touch which speaks about his drive for futurism.

Marc Newson, ‘Wood Chair’ (1988)

Raf Simons’ urge for performance art, social sub-cultures and industrial design is a by-product for by far a perfected product in sculptural form. It’s certainly has been the case so far that form follows function but quite very closely and for women honing in on the elegant authenticity of Jil Sander when she was in office, it won’t be far off when Raf can incredibly seamlessly put two and two together.

Please view the Autumn/Winter 2008 collection that was showcased in Milan below. Presentation video by Elle Magazine. (Note: some background responses to the show can be seen through Style.com’s video here).

Jil Sander, Autumn/Winter 2008 collection

Jil Sander

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‘The geek who conqured the fashion world’, Interview by Alice Fisher for The Observer - January 20, 2008
‘In Milan, Raf Simons Sends a Message to Paris’, Article by Cathy Horyn for The New York Times - February 21, 2007
‘Wood Chair’, Image from Museum of Modern Art (MoMA) - By Marc Newson
Autumn/Winter 2008, Images from Style.com - By Marcio Madeira
Veronique Branquinho - Viere, S, Derycke, L, (1999). Belgian Fashion Design. Di Keure: Belgium

Jil Sander, Spring 2008 collection

Having delightfully caught a glance at Jil Sander’s part collection in the new edition of Bon Magazine, it sparked more of an endeavour to actually discover why the label has been a little off radar, that is to say been innocently overlooked. Maybe it’s because of all the recent craze of Stockholm and New York Fashion Week earlier this year?

Jil Sander (pictured)

In one way you could say, that the appointment of highly influential fashion designer Raf Simons was a godsend for the company. Jil Sander, full name Heidemarie Jiline Sander who was born in 1943 in Norther Germany pushed aggressively for her growing company as one that accompanied highly refined choice of fabrics, a creation for a functional, luxuriously-functional and strong minimalist focal point and with no reason for un-perplexing or an over-control multitude fixation of colours.

Having had to sell her company to the Prada Group back in 1999, to allow her business to grow ever more in the globalisation of international fashion industry at the start of the new millenium, there were growing complications between her and the Prada company CEO and husband to Miuccia Prada, Patrizio Bertelli. Bertelli who wanted to cut down production costs in terms of using materials and standardising how the collection was to be designed, this made Jil walk away from her company and left for good in 2003. It was luckily enough, that a private firm, a British led company by the name of Change Capital Partnership bought Jil’s company and now that she herself is no longer there, preferring her love for gardening back in Berlin, there could not be any desperations having now Raf Simons joining the company as Creative Director in 2005. The success Jil Sander has been ever so strongly. Rad who was born in 1968 in a little place called Neerplt in Belgium grew up in the youth revolutionist movement through the heavily inspired sounds of the British Post-Punk with the likes of Kraftwerk and Joy Division. It is with this and the discovery of the famous Antwerp Six including the names of Ann Demeulemeester and Dries Van Noten that the world of Fashion caught him up. With initial training in Industrial Design in becoming a furniture designer, he opted to engaged himself with the then director of the Fashion Department of the Royal Academy of Fine Arts in Antwerp, Linda Loppa. This led to him producing his first collection in 1995 after self-directed studies in men’s fashion.

Spring 2004 collection with Jill Sander (pictured)

The Belgian avant-gardist and deconstructive method in articulating Jil Sander’s collection still remains minimalistic and yet has interjected a more lively colour palette. In the Spring 2008 collection for women, there is the use of vivid Royal, fluoro bright orange, pink and velvet blue controls the seemingly upper-quarter cropped casual jacket to leave it with the front external side pockets; long-leggings and the extended statural pants breaks through as an emotion for a long scenic beach route, without getting your pants wet.

Belgian fashion designer, Raf Simons (pictured)

One of the things quite important as Raf Simons designing for Jil Sander is although he produces his own collections under his own namesake company, the common demominator underlining his creative direction for both entities his his passion for his childhood experiences. This is where the major Italian based fashion houses instantly fail. Prada, Gucci and Armani who detail sportswear of a luxurious Italian produced quality reflect a marketability for those living with an extremely high wealthy lifestly or individuals for those who desire or are driven by money and expensive consumerism. Raf Simons work is not about this. If we are to inspire young people creatively in their life choices, how do we respond even that Fashion is about real hard work and perseverance? In an interview with Alice Fisher on February 20th 2008 for The Observer, he states that:

“If I see a fashion show with literal influences, it doesn’t make me thing any more. It doesn’t make me dream. I fantazise about what the future could be in terms of aesthetics and psychology. It is the most difficult thing to do because you have to start from the past, your favourite architect, your favourite song, you take it all with you.”

By keeping an open relationship and respect for youth culture and its aspirations, Raf is producing Jil Sander one that communicates with those who in creative endeavours whether it be a multi-disciplined artist or designer, young fashion designer, music or art director, or even a childre’s book writer or poet, the collection speaks to those who are down-to-earth and contribute to the industry in an original and very thoughtful way. And this is why both Raf Simons and Hedi Slimane have heavily contributed to inspire young people incredibly. Money is important and it is a commodity but let us put things into perspective - it cannot equate to buying outrageous clothing garments that seeks not of a contemporary neo-modernist value but a protangonist of an elitist high wealth.

“For myself, the main thing with fashion is, I’m looking for something that has some meaning. And, also, I have to think there is something not already there, something you can do yourself.

It’s like with Balenciaga. The more masterful you get, the lighter you can be, the more you can take away and still have purity in the form.”
- Jil Sander

It cannot be helped that Jil Sander has always had the credibility to be a wonderfully and genuinely good company with good intentions to refine the corporate dress for women. With Raf now at the helm and indeed the company as financially and managerially independent out of Prada’s tyrant hands, when you see both the women’s and men’s collections, the harmonious fusion of the austere and elegant constructed tailoring of Jil’s German - Bauhaus focus with the avant-garde sensibilities creating a monochromatic and highly conceptual visual imagery sparks momentus excitement as now and right into the near and distant future.

British supermodel, Sophie Dahl (pictured)

One interview comes to mind with Jil Sander. The 20th October 2007 editon of television show Parkinson, Michael speaks with British supermodel Sophie Dahl. Sophie speaks how when she had a friend over for tea and was asked by her grandfather what her friend would like to have for tea. Sophie’s friend did not really mind but he said:

“You have to care! You have to.”

Jil Sander

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Spring 2004 collection, Photography by David Sims
Interview with Raf Simons by Alice Fisher for The Observer, 20th February 2008
‘The Modernist’, Interview with Jil Sander by Guy Trebay for New York Style Magazine - 19th September 2004
Spring 2008, Photography by Style.com