J il Sander blows the breeze in the garden of the Frankfurt museum and smiles. In any case, the image of a German designer who defines women’s fashion for four decades is viewed through a series of photographs. Her hometown is not a burger, she still has a studio, even though she stopped her brand in 2013, but stopped in 2013.
This strong, beautiful, special driven woman who worked all the time – she founded her in 1968 at the age of 24, is a pure and perfectionist. This confirmed by the personal view, the visual highlights the “present”, this is her in Angewandten Kunst, life and work of the museum exhibition curator Matthias Wagner K and she made some very simple things together.
From digital movie to specially manufacture clothes, all of the same material, the garden is full of romantic passion, to Paris, she recreated the shop fast modernism, this exhibition aims to solve the problem.
Jil Sander can be said to be the first feminist in the fashion world. Whatever the merits of the women’s trouser suits introduced in the 1930s by Coco Chanel or Yves Saint Laurent, Jil has strongly appealed for women’s empowerment through their clothes.
“I’ve never seen myself as a feminist, but maybe myself, because I’m not happy with the way women are presented,” says the designer. “I think my job is more about the harmonious relationship between men and women, men and women are more equal. I’m looking for more supportive ways to dress up as a professional woman. And because my needs are the common needs of women entering the business world, my job is to help them.
Describing an era of radical change, Jil looks back at her past relationships with women. “I need strength and energy,” explained the designer. “and for me, it’s important to give the costume a lesson, quality and personality. “Women had to ask if they could work, or could they get a driver’s license? We have to give women a lot of power, to give men strength. It’s the beginning of globalization, we’re traveling, we need clothes to feel strong.
“I may not be a feminist, but I was young, I started to, nothing is easy, and I always say you need a great deal of effort to do what you want to do, when you have a dream, and what to do to set up a company. So I always believe in strong women. I’m not a feminist, but I’m looking for a strong personality. ”
The Frankfurt museum has successfully told a lot of people in a minimalist way to reflect sander’s aesthetics. For example, there is a long line of inspiration: the natural texture of leaves and branches, straw-colored fabric, and drawings provided by Jil. According to Matthias Wagner K, the basic building revealed a secret that the display was deliberately set at a tilt Angle.
“It’s the idea of her studio,” the curator explained. “All her shelves, display shelves and windowsills are angular, so no one can put any personal belongings on it. You can’t even put a cup there. She always changes the shelves to an Angle, so she can’t be confused. All this is focused on work. ”
He continued: “the mood board is almost like a diary, where she collects patterns from magazines, or USES different colors, whether in print, fabric or shape. She would nail them down and go back to them. ”
The exhibition opens with a wide selection of fashion films, with 16-year-old Kate Moss focusing on photography, while the camera zooms in on details of the costumes. The absolute number of clothes hit the audience through the Jil Sander men and women’s walls and small digital clips. The background music, produced by the French acoustics artist FredericSanchez, creates the charming effect of a simple “sound cloud” that reflects the display. These include three wooden mannequins, white paper rolls, slightly different shades and textures, and a man’s tailored coat, which may actually be women’s wear. But where are the rest of the clothes?
Turning a corner, a few lines were written on the wall: “my aesthetic ideas are generated from the spirit of The Times I think” or “I am interested in something new”. Then from 1997 to 2014, Jil Sander’s clothes were displayed again. In fact, there is no Sander file, because curators say that the company’s changes and Jil’s interests are in the present, not the past. Although he had asked the Victoria and Albert museum, London, and the other in California, but survived early works as small quantity and the design of Jil.