Jil Sander on Jil Sander

HUR CONVERSATIONS

Nov 26

Jil Sander

Jil Sander on Jil Sander

By Bonnie Langedijk

There are only a handful of figures who changed the way we dress, and only fewer who still do. German designer Jil Sander didn’t follow fashion; she redefined it. The woman behind one of the most iconic brands has always been more than a fashion designer—she’s a cultural architect. Sander revolutionized fashion by staying true to herself. With her precise cuts, innovative fabrics, and restrained elegance, she created a design language that remains as modern today as it was when she launched her label in 1968—while the world only caught up in the late 80s and 90s. Her work is not just admired—it is studied, referenced, and endlessly influential. The German designer’s clothes, campaigns, and concepts have set a standard for modernity that many still aspire to but few achieve.

With the launch of Jil Sander by Jil Sander on November 26, a landmark monograph designed by Irma Boom in close collaboration with the designer herself, we get a rare and intimate view into the mind of one of fashion’s most consistent visionaries. Through a collection of archival imagery and personal anecdotes, the book captures Sander’s minimalist philosophy in form and content, presenting the legacy as a timeless conversation between past, present, and future.

From her first collections in the late 1960s to her famous 90s ads featuring Amber Valetta, her career is a testament to clarity and conviction. For Sander, fashion was never about trends or spectacle—it was about purpose, integrity, and the ability to create something that resonates deeply with those who encounter it—a place where style and substance meet. Her approach spoke to women who valued precision and quality, offering them something rare: clothes that respected their lives, ambitions, and individuality. In an era often defined by excess, Jil Sander carved a path of quiet rebellion, championing minimalism as a radical form of expression. Through her designs she offered a vision of how modern life could look and feel. Rooted in an unrelenting focus on the essential, her work has redefined the meaning of style.

*Jil Sander by Jil Sander - Page 297. 2002 Atelier in Hamburg, photo ©Klaus Frahm*

*Jil Sander by Jil Sander - Page 238. Spring/Summer 1994 Campaign, model: Amber Valletta, photo Peter Lindbergh ©Peter Lind-bergh Foundation*

When editing the book, what was the essence you were trying to capture? How do you distill your career into 360 pages?

We went for an impressionistic approach, akin to the fast media of today’s consumption. Since I see my lifelong work as a rotation around a conceptual center, we let the photography whirl around and settled on kaleidoscopic constellations. The material is not encompassing and exhaustive, but it provides readers with a first-row insight into the complexity and diversity of our collections. I am not interested in streamlined storytelling, I wanted to share my belief that all my designs are quite contemporary and still speak to us, bridged by an unwavering vision of modernity.

“I am not interested in streamlined storytelling, I wanted to share my BELIEF that all my designs are quite contemporary and still speak to us, bridged by an unwavering vision of modernity.”

Is there a particular image or reference in the book that’s meaningful to you? Could you tell us more?

I am happy with the whole book which is the fruit of intensive collaboration and minute selection. One might apply special emphasis on the “Woman Pure” bottle at the beginning. As my first perfume, it was a decided statement against the then reigning fragrance culture. The glass is heavy, frosted and square, almost laconic in its geometrical form. I chose a square format for the book as well to allude to the essential balance I hope to achieve in designing. As to the light liquid content, it seemed to express optimism and energy. I like the suspense of energy and balance, which to me is the fragility of living a moment of bliss.

What are your thoughts on the concept of taste? Is there good and bad taste?

Taste is a matter of experience. The more you know, the more you are prepared to differentiate.

Fashion is a reflection of the times we live in. What do you think fashion today says about our society?

Today’s society is diverse and multicultural, so we rarely see general trends which could mirror a coherent group of people. In a larger perspective, fashion has split up into utility wear on the one hand, and fancy designs for special occasions on the other. This seems to say that we departmentalize life into reality and fantasy. In my work, I tried to bring the two together: Comfort and practicality with class and subdued, yet eye-catching design.

What’s the role of a designer today? Has it changed?

I feel, it has. Today, attention spans are short, which encourages designers to go for bold statement pieces. Mostly, things are bought on the Internet, where it is hard to identify intricate details and to judge the quality of materials. So, designers no longer invest in thorough fabric research. To me, the research of cutting-edge fabrics with their genuine properties has always been the first step to come up with something truly new. The acceleration of fashion cycles adds to the neglect of lasting design. Today’s design departments are strictly monitored, nannied by guidelines, and imposed requirements. To follow a personal vision over a longer passage of time has become almost impossible. If success is not instant, designers are replaced.

*Jil Sander by Jil Sander - Page 7. 1979, Woman Pure, packaging: Peter Schmidt.*

*Jil Sander by Jil Sander - Page 139. Spring/Summer 1999, Backstage Men’s Show, Editorial, Navi Japan, ©Aldo Fallai*

Fashion has always been one of the key elements of culture. How do you think culture is shaped today? Has it changed?

I am not sure that fashion is still the yardstick of cultural development. If there is a characteristic trend of our times, it is to love vintage and avoid fashion. One needs freedom and time to come up with genuine designs that reflect the present age.

We live in a society where there’s a particular focus on newness. As a designer who has always had a very strong, consistent vision, how do you look at culture’s focus on what’s new over what’s best?

I feel that newness is rare today. Words like modern and avant-garde are no longer in circulation. The Internet as an archive provides us with such a treasure trove of things past that addressing the future is almost forgotten. We carry a lot of dead weight with us; our attention is absorbed by eye-catchers and campaigns designed to stir public emotions. And yet, we need new solutions more than ever.

How has that affected what luxury means today?

It means different things to different people. For me, luxury lies in the quality of things designed to make us confident and help us succeed in our moment in time. In this sense, luxury is still relevant.

You are a brand builder and have been able to build a brand that’s holistic and goes far beyond just clothes. What do you think are the key building blocks to creating a distinctive brand?

It comes naturally to me; I automatically apply my convictions to everything I see and often want to improve things around me. With a person of this critical mindset at the center, brand building is an organic process. Great brands have proved that the vision of a founder can stay alive and evolve once he or she is gone. But the process is artificial and asks for a lot of empathy, creativity, and intuition.

What are your core leading principles when it comes to making decisions?

To study the issue at hand, to stay fair to everyone involved, and to sleep upon it.

In my opinion, your designs always put women first. It championed them as individuals, and provided the kind of wardrobe that made someone look put together yet never overshadowed the person wearing them. While the role of women in society has changed, women’s rights are once again on the line. How do you look at this development?

I am afraid that such issues as personal freedom, autonomy, and self-expression will never be totally granted and self-evident. Women have gone far, but they must continue to fight for their rights. This includes the right to avoid female fashion stereotypes. When I started in the late 60s, not dressing the role was an important step to emancipation. If you show understatement, self-respect, and attention to quality in your own outfit, people will treat you accordingly.

*Jil Sander by Jil Sander - Page 148. Spring Summer 2010 +J Uniqlo, Backstage Campaign Shoot, model, Iselin Steiro, photo ©Greg Harris*

*Jil Sander by Jil Sander - Page 172. 1985, Colour Pure Ad, AD: Scholz & Friends, packaging: Peter Schmidt*

The lines between creative disciplines have blurred. Fashion brands are collaborating with artists and sports teams, while art galleries, museums and design companies are increasingly embracing fashion as a gateway to connect with new potential buyers. Do you think cross-pollination across creative disciplines makes design better?

There has always been cross-pollination in culture and design, including fashion. My own work is immensely inspired by contemporary art and architecture.

I read you love art. Who are some of the artists, or art movements you often look to? What makes you gravitate towards them?

The list is long, Richard Serra, Imi Knoebel, Sylvia Bächli, Cy Twombly, Robert Ryman, Mario Merz, Kibong Rhee, Jannis Kounellis, Alighiero Boetti, Agnes Martin, among others. What they have in common is an overall quality and originality.

Throughout your career you’ve applied your vision not only to clothes, but also cosmetics and later to a partnership with Uniqlo. How do you create something that aligns with your own vision, but works within either these different brand stories or product stories? How do you decide what Jil Sander smells like?

I partnered with Uniqlo to design the fashion line +J. Our mutual understanding was that I would apply my principles to their capabilities. This puts a certain limitation on luxurious fabrics, but not on our textile research, where Japan is leading. This, and the prospect of designing for a larger audience drew me to the project. A company like Uniqlo has the buying power to translate very decent fabrics and great workmanship into democratic prices. It excited me to reach a larger group of people worldwide with my design ideas. As to my perfumes, of course, they weren’t meant to express how I smell, but to reflect the light smells, which I like. With fragrances and their packaging, I wanted to get away from the then prevailing couture aesthetics of female sweetness and decorative vials.

What excites you about the future?

We don’t know the future, despite AI and a huge prognostic industry. I find this openness of things to come incredibly exciting.

This interview has been edited and condensed for clarity.