For the second sunglasses collection it signs with Oliver Peoples, Jil Sander softens lines that were tauter until now. Three frames, one in titanium and two in acetate, with a rounded design. One of them, the Edition 9, widens where one least expects it.
The Edition 9 is cut from thick acetate, sculpted and hollowed, so that the front looks angular even as it slopes toward the face. Its width increases toward the bottom. Simone Bellotti, creative director of Jil Sander, himself cites it as an example of contradiction: Japanese precision pushed very far in the service of a fluid form that follows the features instead of constraining them. The House states that the frames are handmade in Japan and that the sun lenses are made in Italy.
The Edition 7 is the only one in titanium. A rounded circle carries a sculpted top bar that drops onto the frame and meets a shaped bridge. The end pieces are set low. The temples follow a curve drawn for the occasion and end in sculpted tips; adjustable, vintage-inspired nose pads and Oliver Peoples glass lenses complete the construction. It comes in gold with washed light brown, G-15 or indigo lenses, and in silver with gradient grey lenses.
The Edition 10 returns to sculpted acetate, with a rounded silhouette that lifts toward the outside. Its curved temple extends into a sculpted tip, giving the profile a continuous line. The nose pads are universal-fit, and the collaboration mark is engraved inside the temples. Four combinations: black, dark mahogany, bright blue (all three with carbon grey lenses) and amber with indigo lenses.
The engravings on the Edition 9 are sober and gold. A vintage-inspired marking adorns the right temple, and the words “handcrafted in Japan” appear on the teardrop-shaped tip. The colour plays on the gap between frame and lens: the buff with washed light brown lenses stays within close tones, while the bright blue of the Edition 10 with carbon grey lenses stands out. Twelve combinations in all, four per model.
For Simone Bellotti, who is establishing his vision at Jil Sander, the collaboration is both an object and a gesture. On paper, the collection holds that line through verifiable points: the curve of the temples, the width at the bottom, the sculpted tip. What remains is the test that sunglasses designed to follow the face cannot avoid: what they make of it once they sit on it.
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