Resort is a sort of prelude to Jil Sander’s Spring (shown after the fact), where Meyers adopts a darker, edgier tone. Signs of this change began to emerge here, a departure from the pervasive feeling of cocooning seen in previous seasons. Shiny fabrics, shiny leather, and sharper, more angular silhouettes – the designers were after high-contrast and tension. “Last winter it was about taking shelter in your own protective world,” he said. “Now it’s about facing reality, because there’s a lot of reality happening around us.”
For the lookbook images, shot in a transitional area between rooms with artificial lighting that dissolved any sense of time, Meyers looked to the work of Canadian photographer Greg Girard. His neon-coloured, after-dark frames of urban landscapes influenced the use of smooth surfaces that reflected tonality, such as a coated canvas dressed in an oversized trench coat with a paper effect. Is, or brown leather with night glow is used for three. -Peace suit.
Meyers brings her own elegant yin/yang nod to Jil Sander, creating scenes that read as points of comfort between opposing forces. Here their interplay was echoed in a series of edgy dualities: delicate contrasted with strict in a dress whose bodice, densely studded with pearls, evolved into an elongated black leather midi skirt. The fluidity of a shell-pink draped long dress with cape sleeves was set against the density of sturdy leather pieces; And cloud-like cotton organdy finely embroidered with tiny zigzag ruffles was crafted into a trapeze shift that set off a sharp-cut white tuxedo coat with satin lapels.
The symmetry between the beautiful and the austere gave the collection elegance, yet the vibrancy was definitely assertive. “It’s nice to give people who appreciate our clothes a message of strength, to make them feel a little tougher,” Meyers said. In times of hardship, fashion can express a sense of resistance.
