Gilles Zander. Photos from different years

Jil Sander is a company that produces a wide range of high-quality products - fashion clothes, leather goods, accessories, glasses, shoes, cosmetics and perfumes. The Jil Sander brand is world famous for its impeccable style, sophistication, excellent quality and the combination of classic proportions with expensive luxurious materials.

German fashion designer Jill Sander was born in 1943 in Wesselbüren (Germany). After studying the basics of textile design in Germany and then at the University of Los Angeles in California, she began her career as a journalist and stylist for German and American fashion magazines - New York's MC Call's and Hamburg's Brigitte. In 1968, Gil opens his first brand store in Hamburg, which specializes in the sale of items created by the designer. In 1969, Jill Sander founded his own brand. In 1985, she became the first German fashion designer to present her clothing collection in Milan, where laconic simple shapes combined with expensive fabrics introduced the world to the name of a new fashion designer - Jil Sander.

In the 1980s, Jill became a professor at the Graduate School of Applied Arts in Vienna. Since 1979, the designer has been producing cosmetic products under the name Jil Sander Cosmetics. In 1993, the brand's brand store was opened in France (Paris), and a year later a new direction appeared in the company - this is Jil Sander SPA in New York and Milan. In the 90s, the collections of the House are very popular with millions of fans around the world. But in 2000, Jil Sander had to leave his own company due to disagreements with Patrizio Bertalli, the director of Prada, who owned a 75% stake in the Fashion House. In 2006, the Jil Sander brand was bought by Change Capital Partners, a private equity firm led by Luke Vandeveld. Currently, the brand continues its life and still produces a collection of clothing, cosmetics, perfumes and accessories.

Laconic, simple, absolutely undemocratic and expensive - this is how Madonna described her costume from Jil Sander. Simplicity is not tantamount to democracy, the founder of this Fashion House has always believed. Luxurious fabrics, sophistication, lack of detail, and simple silhouettes are Jil Sander's hallmarks.

In 1978, the perfume history of the brand began. Refined simplicity and aristocracy are the main features of the designer's perfume, however, as well as all Jil Sander's collections. Freedom to be yourself is the life motto of these spirits. Created for women full of charm and self-confidence, they emphasize the strengths of the fair sex - this is sensuality, wisdom, sexuality and incredible firmness and determination, hidden under the mask of softness and femininity. Jil Sander men's perfume products are designed for a strong, determined man who is not afraid of danger and always strives for new discoveries, victories and horizons.

In 1993, he opens his first store in Paris. In 1994 - opens branches of Jil Sander Spa in Italy (Milan) and the USA (New York).

Gilles Sander was born on November 27, 1943 in Wesselburen, Germany. She began to study textile business in Germany and the USA. Starts working as an assistant editor for McCall's in New York and Brigitte in Hamburg.

In 1968, she opened the first store selling her creations. In 1969 Gilles founded the marketing company Jil Sander Moden in Hamburg.

In 1973, Sander presented the first collection under her own name. Three years later, she achieves sensational success with the introduction of the "layered style" Onion.

In the 1980s she became a professor at the Higher School of Applied Arts (Hochschule fur angewandte Kunst) in Vienna. Since 1984 - represents Jil Sander Leder (leather products).

In 1985, Gilles Sander becomes the first German designer to present his collections in Milan instead of Germany.

In 1993, he opens his first store in Paris. In 1994 - opens branches of Jil Sander Spa in Italy (Milan) and the USA (New York).

1995 Sander introduces Jil Sander Eyewear (glasses). Receives the Order of the Federal Republic of Germany.

Gilles Sander received the Fashion Group Award in New York (1996). In 1997, the men's collection was presented. Gilles Sander is the creator of such fragrances as:

Heidemarie Zhilin Zander (German: Heidemarie Jiline Sander) - German minimalist designer, founder of the famous clothing brand Jil Sander.

Biography and early career

Heidemarie Zhilin Sander was born on November 27, 1943 in the small German town of Wesselburn and grew up without a father. In 1963, in the city of Krefeld, the girl received a diploma in textile engineering, after which she studied for two years as an exchange student at the University of California at Los Angeles. Gilles began her career at the German magazine Petra, working there as an editor. In 1967, at the age of 24, Zhilin opened her first boutique in Hamburg, where she began selling clothes from the likes of Thierry Mugler and Sonia Rykiel. In addition to these brands, the store also featured some items of her own design.

In 1973, Sander released his first full-fledged women's collection, consisting of luxurious trouser suits, dress shirts and unusual ones. All these things were intended for a new generation of business women. The show was held in Hamburg, but in the end it turned out to be a failure, as it did not attract worthy attention of the general public.

The reason for the failure turned out to be one circumstance: at that time, luxurious, colorful, shiny outfits in the spirit of the popular TV series Dynasty prevailed in fashion. The public accepted the creations of such designers with a bang, as with his broad-shouldered leather models. Sander's work, on the other hand, differed radically from this fashion revolution, as it was based on minimalism and mainly focused on the quality of the fabric and the craftsmanship.

ABOUT However, the failure did not bother Zander even after several ups and downsin 1978, the girl founded her own fashion house in Hamburg - Jil Sander GmbH.

Success and expansion

In 1979, Jil Sander Cosmetics launched Jil Sander Cosmetics, which was originally conceived as a special strategic licensing alliance with the Lancaster Group. In the same year, Zander launched her first fragrances, Pure Woman and Pure Man, and thanks to the financial support of Lancaster, she was able to place large-scale advertising on the pages of several glossy magazines. In a short time, the brand acquired a favorable image in the eyes of customers. This was partly due to the fact that the creations were simple, concise things that could easily be combined with each other. Zander created the so-called layered style (from the English "onion" - "bow"). His characteristic images combined many different objects. A little later, the designer received a license to produce a line of glasses and.

In 1980, Gilles Sander was appointed professor at the Higher School of Applied Arts (Hochschule fur angewandte Kunst) in Vienna, and in 1985 becomes the first German designer whose collection was shown in Milan. As a result of these events, sales begin to grow steadily, and the cosmetic line is replenished with new Jil Sander fragrances. The label's luxurious minimalism became a hit in the late 90s.

“I try to bring to my work something that you see in art. I have always been inspired by contemporary and minimalist art. I have always felt that this is similar to what I do. That's what helped me keep my vision sharp and clear."

In 1989, Jil Sander AG went public and was sold to shareholders on the Frankfurt Stock Exchange. This Fashion House was the first of all who decided to take such a step. The new capital was used by Zander to expand the brand in Asia and North America. Its success has culminated in the emergence of luxuriously furnished stores in Hong Kong, Taipei and several other cities. Michael Gabellini was commissioned by Sander to design the brand's showrooms and offices in Hamburg. In addition, Zander personally oversaw the design of her store spaces, as well as imposing strict rules on staff regarding where they should stand in the boutiques and how to behave. The label's largest store, which opened in Paris in 1993, featured Jil Sander's collections on four floors and totaled more than 9,000 square feet (840 sq. m.) of the entire boutique. Here, on 52nd Avenue Montaigne, there used to be a boutique - a designer whose work had a strong influence on Gilles Sander.

In 1994, the Italian branch of Jil Sander Italia S.p.A was founded in Milan, and the brand's showroom appeared in the city itself, which would later become the headquarters of the entire group. In 1995, the New York branch of Jil Sander America, Inc. opened. At the same time, the first Jil Sander boutique opened in Chicago. The success of the Jil Sander brand continued until the mid-1990s. The company successfully weathered the financial crisis in Asia and in January 1997 even launched a new menswear line, the presentation of which was postponed several times. In the press the line was described as "fine cut with an emphasis on light fabrics" . In 1998, Gilles Sander made a successful collaboration with the German sports brand Puma, launching the collection. In 1999, Jil Sander's flagship store was opened in Tokyo.

Many fashion researchers believe that the reason for such popularity among buyers and critics was the desire of Gilles to concentrate on the actual design of clothes, and not on running a business. However, the woman needed a reliable partner and strong financial support, as she understood that her company was constantly growing. Jil Sander AG was no longer a small private business.

“For me, the most important thing in fashion is to find something that makes some sense. And besides, I have to think about what has not yet been created, what I can create.

In 1999, the Group acquired a 75% stake in Jil Sander. Zander herself remained the company's creative director and became chairman of the new joint venture. However, six months later, in January 2000, Gilles Zander unexpectedly decided to resign as chairman, and some time later, after a conflict with Prada CEO Patrizio Bertelli, she left the brand as a designer.

Rumor has it that the uncompromising perfectionist Zander refused to use cheaper fabrics and change her brand's traditional slim fit to standard clothing sizes, which Bertelli demanded of her, citing the need to cut costs and move to a more accessible concept.

“Even in spite of fashion, you always have a need to feel the quality of production, to feel the perfection of a thing with your body. In addition, as pretentious as it may sound, clothing should provide food for the soul.”

After leaving the company and retiring, Gilles Sander for the first time in many years of hard work without respite was able to enjoy leisure: traveling, swimming, visiting the opera and caring for her garden. The Fashion House at that time was hardly moving forward, both creatively and financially. In addition, after the departure of Zander, the entire production staff left the company. All developments Gilles were almost lost. However, Bertelli himself was quite optimistic: "A brand as strong as Jil Sander doesn't have to rely on a designer's name at all" . However, in 2001 there was an official announcement that the Jil Sander Group suffered losses equal to 9.4 million dollars, and already in 2002 the brand lost about 26 million euros.

Return and new rejection

In 2003, surprisingly making the decision to return, Gilles again assumed the position of chief designer of her own brand. The official version was that Bertelli and Sander carried out conciliatory negotiations. The designer signed a consulting contract with the firm for a period of six years, and also received a share in the company and a seat on the Prada strategy committee. In response to a long and impatient wait from the public and the press, Sander presented several new works, this time in bright colors (sherbet dresses, white jackets with blue stripes) and decorated with floral prints (including sequins).

The international press unanimously celebrated Zander's return to his post. Her Jil Sander labeled designs had a more feminine feel and were instant hits with both buyers and critics. After designing two collections that were shown in Milan, Zander reworked and redesigned the menswear collection for Prada designer Milan Vukmirović.

“It's like Balenciaga. The more skill you acquire, the lighter you become, and you can make the shapes stay light and clean.”

Despite a triumphant return, in 2004 Gilles Zander stopped her work with the Prada Group and resigned due to new insurmountable differences with Mr. Bertelli. In an official statement, Prada announced that the decision to end the collaboration with Zander was mutual. In February 2012, it became officially known that Gilles Sander would once again take over as creative director of Jil Sander, removing him from his position, who had successfully led the brand for several years.

In October 2013, Gilles Sander left the brand again.

Collaboration with Uniqlo

Despite the fact that Zander stopped all cooperation with her own company, she did not leave fashion. On March 17, 2009, designer Gilles Zander officially announced the creation of her own consulting company. The company's first client was the Japanese brand Fast Retailing and its label Uniqlo, for which Sander curated the designs of the women's and men's collections, called +J.

The first Fall-Winter 2009-2010 collection went on sale worldwide on October 1, 2009 and included more than 40 men's and about 100 women's Gilles designs: jackets, coats, knitwear, t-shirts and accessories. All this was characterized by the minimalist aesthetics of the fashion designer and the modest color schemes inherent in the style of Jil Sander. The second +J line, designed for the spring-summer season, was launched throughout Asia (including South Korea, Japan, Hong Kong and China) on December 23, 2009. On January 7, 2010, she entered the London points of sale. On January 14, 2010, the collection appeared in the only Uniqlo store in the United States, in New York. During the spring and summer of 2010, the line arrived at other points of sale.

Awards

In 1995, Gilles Sander was awarded the Order of the Bundesverdienstkreuz of the Federal Republic of Germany for her achievements in the field of fashion.

In 1996, she received the Fashion Group Award in New York.

Official site: www.jilsander.com

Interview with Gilles Zander for the New-York Times, 2010

NYT: Once in an interview, you compared your work to the life of a prima ballerina: dedication, training and the struggle for perfection on graceful and simple surfaces. That's a pretty accurate description, isn't it?
ZhZ: There is one big difference between me and a ballerina: a ballerina works from the stage, while I prefer to stay backstage. However, I feel sympathy for the efforts that ballerinas make to make beauty look easy and simple. Thus, they inspire those who look at them, and make them strive for the same.

NYT: You have never designed clothes that make a woman look awkward or funny. Can it be called your secret, the presence of some secret design that you build into clothes, but leave it completely invisible?
ZhZ: Before me, almost no one practiced minimalism in creating clothes. It was this circumstance that inspired me to create my own clothing line. I felt that cutting down on the decorations in my clothes would be a more attractive and respectful decision than piling on a ton of jewelry. I studied proportions, fabrics and their properties, and mastered the art of creating structures and foundations. My approach has always been quite sensual. It developed through numerous stages and eventually took shape. I am sure that the form itself is fashion.

NYT: Would you describe your work as bringing the individual to the forefront? In other words, do you use clothes to emphasize the character and personality of the woman or man who wears them, instead of creating things that impose reprehensible thoughts about a person?
ZhZ: I don't know how to say it better.

NYT: You were a vibrant part of the feminist revolution when you designed clothing in the 1970s that affirmed the power of women to work alongside men. How did you feel in the 1990s, when everything you had achieved was jeopardized by the girly fashion for pink and various jewelry?
ZhZ: The 90s were extremely diverse, it was almost like a new age laboratory. There were so many experiments around: in politics, in economics, in gender and family structures, and in fashion, of course. At that time, there were a lot of opportunities from which the head was literally spinning. Now that the fog has cleared, we are able to see clearly and clearly. And we're picking things up from where we left them when this crazy carousel just started spinning. I think many women then realized from personal experience that they can be feminine, innocent, sexy, fatal, provocative, brutal ... The way they want to be. And also that, in the long run, they will get a lot more value out of life if they adopt a more dignified appearance.

NYT: You have always reflected the spirit of the times. How do you feel now that you see the YouTube generation obsessed with the self-assertion system? Have you ever watched the so-called "trunk" videos where women are filmed unpacking clothes they just bought or ordered online to show the rest of the world? Have you read fashion blogs where everyone is talking about themselves? Me, me, me... Do you feel like a stranger among all these people and ideas? Or do you find this way of expressing yourself interesting?
ZhZ: I have not watched these videos, but I can clearly imagine them. I wonder if this is just a youth mannerism or a new version of the rituals? Personal fashion blogs and style sites like Ilikemystyle.net, for example, are the answer to the confusion that goes on in fashion. At the very least, they are responding to the fact that now there are no rules, no common aesthetic, and the process of enriching themselves has become a major daily event. Sites like this turn it into a competition and offer their criticism. However, at the end of the day, this anarchic electronic catwalk focuses mostly on a certain look, a certain playfulness and independence in clothing that the British discovered a long time ago. The zeitgeist is more egocentrism than a system, in the good sense of the word. The Internet is not just a visual space, it encourages the transmission of messages, it suggests reflections, thoughts about the inner world, and letters are used to express thoughts.

NYT: You have worked quite closely with Italy and Japan. Is one of these countries close to you and your vision? Or does it all depend on the people you work with?
ZhZ: On the level of mentality, I feel that Italy is closer to me. Japan in the first moment had an effect on me, similar to culture shock. I had to get used to the complex system of hierarchy, to the implicit rules of communication, and also to the social role of women in this country. But in a professional sense, I quickly felt at home. In Japan, quality and innovation are highly respected. Uniqlo's mechanisms are adapted to rapid change. The local environment contributes to the development, analysis and implementation of new ideas. Everything is more intimate in Italy, the Italian family business is ideal for specializing in luxury. Uniqlo allows me to work on a larger scale, which is quite difficult, but it opens up great opportunities for me. In the long term, I hope to combine the best of fashion from these two cultures. We have already started cooperation with Italian fabric manufacturers.

NYT: For most people, the difference between what you've done over the long history of your own brand and what you're doing now at Uniqlo is primarily price. Have you mentally decided to take your aesthetic and tie it into an affordable clothing line? How difficult, or perhaps easy, is it to create high-end designs and then sell them at low prices?
ZhZ: Before starting, I considered many options, having studied with particular care the field of haute couture. However, I did not want to do again what I had already done. Uniqlo gave me the opportunity to test my principles in a new field. I felt that the idea of ​​"quality at affordable prices" was worth globalizing. I want to offer good clothes to all those who don't have the time, opportunity or patience to reinvent themselves every day. I see the +J line as something that can help overcome cultural barriers and bring today's population of the planet a little closer together.

NYT: If luxury can be easy, how do you manage Uniqlo without any luxury tools? The use of quality fabrics has always been your credo. I remember how it was fashionable at European shows of your collections to feel the fabric and find hidden invisible qualities and properties in it. Can the same be achieved with inexpensive fabrics?
ZhZ: Of course, luxury textiles remain out of reach for mass-market companies. But what impresses me is how much can be done. I sometimes call it working miracles. We do a lot of tissue research and development. And because Uniqlo is a Japanese brand with a traditional focus on outerwear, it has the resources and capability to innovate. Placing large orders allows you to get high quality at a low price.

NYT:What were you doing during the period when you stopped designing in 2004 when you left the business? If I'm not mistaken, five years passed from that moment until the signing of the contract with Uniqlo. Have you thought about fashion? Did you do any sketches? Did you do any other creative work? Has there been any creative process going on in your head?
ZhZ: This period was not so long. I stopped working in 2005 and started working with Uniqlo in 2008. In a way, I was probably designing in my mind, so starting to develop the +J line felt very natural. However, I never lost touch with fashion. I continued to look at the world through the eyes of a designer. As for free time, I traveled to different countries that I had not yet been to and could not visit as a tourist. In addition, I spent a lot of time in my garden. At the same time, I continued to negotiate. Since I always wanted to get back into fashion, I was constantly looking at a great many different options.

NYT: Why did you decide to return to fashion and work with Uniqlo? Was it a new mission? Did you want to communicate your vision to a wider audience? And is it true that you recently extended your contract with them for another three years?
ZhZ: As I said, at the moment Uniqlo is the most adequate and acceptable option for me. The haute couture industry is at a crossroads, fashion shows are a little outdated, and creativity seems to be stuck on repetitions of what we've seen a long time ago. Many different experiments are now being carried out without exact directions. I wanted to start a new life with a clear goal in front of my eyes. Modern foundations turned out to be a very confusing discipline, a field that had to be broken through. My vision of fashion has always been closely associated with clean lines. It seemed logical to me to try my hand at developing a democratic clothing line and see if my idea could be realized in the highest possible quality.

NYT: What do you think of fast fashion? I have always thought of you as a designer who creates things that will last a long time. Can you go against the typical fast fashion trends and create inexpensive pieces that will last for more than one season?
ZhZ: I don't think we'll go back to Mao's coat. Even classic silhouettes need to be revisited to look fresh and attractive. I don't want to go against trends. I'm more interested in keeping up with the concept of my collection. I hope the +J line designs will last a little longer than the rest of the hits of the season. I also hope that in this line the balance between durability and relevance to our time will be fully struck.

NYT: You have never made retro clothes, things with a reference to the past. However, you have a broad outlook and education. Do you think that your vision is in line with the Bauhaus movement, Russian constructivism and painting of the past?
ZhZ: Of course, Bauhaus architecture has had a huge impact on me, and not only on me. However, in a more general sense, I show sympathy for the art of different times. I find principles close to me in the perfection of all ages, in the same proportions and symmetries, and so on.

NYT: Do you have any passions today other than work?
ZhZ: I've been into art for a long time. I visit art exhibitions and galleries, and sometimes I even buy some works that I think are art in a global sense. In addition, I like to read, but I do not always have enough time for this. In addition, I hope that someday I will find time to study traditional Japanese gardening more thoroughly.

NYT: Are you keeping up with new technologies? If so, are you interested in learning about contemporary websites and blogs to get an idea of ​​today's culture?
ZhZ: To be honest, right now I don't have time to study the Internet systematically. Of course, I'm still curious, and I look at the sites that are recommended to me. We are currently working on our own web site. I'm thinking about creating a site that will not only help make the +J line more transparent, but also serve as a kind of cultural platform.

NYT: The last question: will a woman ever be able to dress like a man? Or is there something in women's genes that draws them to flashy jewelry, fancy hairstyles, and crazy shoes?
ZhZ: Men's clothing has interested me since childhood. Fabrics, cut, shape - everything seemed to me less far-fetched and capricious. Perhaps it was this passion that gave my work an androgynous character. But I like femininity, not devout, but self-confident, precise and complex. I have the impression that today the boundaries between the sexes are becoming more and more blurred. In addition, you may notice that men are increasingly willing to dress in tailored clothes, while women prefer a certain uniformity - a denim jacket and a Chanel bag - regardless of age. But grown-up women's style usually comes with professional success and independence. There are moments in life when gender ceases to matter in relation to clothing. And this is very important. I hope that I can create clothes that emphasize the attractiveness of character, intelligence and personal charm.

“Simple, concise, completely undemocratic and very expensive” – this is how Jil Sander, one of the most famous fashion brands, is characterized, the creator of which is Heidemarie Zhilin Zander, better known as Jil Sander. For many years, the models of this brand have been considered by women all over the world as the standard of elegance and simplicity.

Jill Sander is a luxurious minimalist fashion designer, a high-class fashion designer, a woman dressed simply and elegantly, who used her right to choose in a very categorical and ambiguous way. She was not afraid to put the head of Prada Holding in his place. Her choice led to the loss of the brand she created and the departure from her own Fashion House. And Jill's career did not immediately take off to such a dizzying height. But first things first.

Jill Sander's career

Jill was born in a small German town and raised by one mother. She began her fashion career far from an internship at some well-known fashion house, and not from “sheathing” her girlfriends. Jill, like a thoughtful German, has calculated in advance many steps of her future career. She decided to just stay in the "kitchen" of the fashion industry and better understand all the intricacies of fashion policy. Jill Sander began to prepare her ascent to the podiums of the world, working as an assistant editor of the glossy Brigitte magazine in Hamburg and the American McCalls. But Jill still did not want to connect her life with fashion journalism. She was eager to create on her own, and not to criticize other people's creations. After all, it was not in vain that she studied textile business in her homeland, and then also at the University of California.

At the age of 25, Jil opened her first boutique in Hamburg under the Jil Sander brand, which sold the first things created by the young designer. The demonstration of the first collection of Jill Sander was held in Paris, and a year later in Milan. Many celebrities who are tired of dressing too much have been pleasantly surprised by the practical and feminine style proposed by Jil Sander. And the fashion designer's style was distinguished by simple lines and shapes, the luxury of which was complemented by exquisite fabrics. She proved to the whole world that a perfect prostate cut can look very sexy, and any details against the background of such intriguing conciseness will be superfluous. Critics have called Jill "the guru of intellectual minimalism". But Jill was distinguished not only by the spread of strict minimalism, she revolutionized the fashion world, "infecting" it with a layered Onion-look style.

In the early 90s, Jill Sander conquered the center of the fashion industry - Paris, where, on the famous Avenue Montaigne, she opened her first boutique. By that time, Jil had already acquired Jil Sander Cosmetics and Jil Sander Leder. Also, the girl became the first German fashion designer who presented her collections not at home, but in the world capital of fashion - Milan. Her sumptuous collections, characterized by conservative clarity, have made Jill one of the world's leading designers. In the mid-90s in the United States, Jill Sander was awarded the Fashion Group Award, and later expanded her achievements with a men's clothing collection and a perfume line.

Changes in the fashion house Jil Sander

The end of the 90s was the beginning of major turmoil in the Jil Sander Fashion House, when the Prada Group acquired a controlling stake. But such a commercial move was unsuccessful. Less than a year later, Jill was at odds with Patrizio Bertelli, the head of Prada. It all started with the fact that Patrizio Bertelli suggested that Jill use simpler fabrics for collections, thus demonstrating his business practicality. Naturally, Jill Sander could not agree to this. Then he wanted to "relocate" clothing production to a cheaper country. Proud of her trademark expensive style, Sander would not have been able to survive this. She slammed the door and walked away. The fall-winter 2000-2001 collection was considered to be the last one created by Jill.

But a couple of years passed, and Jill Sander was invited to return to his native Fashion House. Apparently, things were not going so well without the creator of the brand. The next collection simply delighted the entire fashion community. The audience gave a standing ovation! But, unfortunately, the joyful return of Jill Sander did not last long. She was never able to find a common language with the Prada Group, and quit again.

At the moment, the brand lives, but already an independent life, developing the traditions of luxurious minimalism, which were laid down by the founder of this brand. And Jil Sander herself remains in the shadow of the Fashion House and zealously claims all fashionable merits. Perhaps if Jill Sander had not tired of all these fashionable intrigues and had not left her native brand, everything would have been different ... But she used her right to choose very categorically.