Menu

Gagosian Quarterly

October 29, 2021

fashion and art:lucie and luke Meier

The creative directors for Jil Sander tell the Quarterly’s Wyatt Allgeier about their inspirations, the recent campaign they created in collaboration with celebrated fine-art photographer Joel Meyerowitz, and their developing engagement with pop-up retail spaces.

Luke and Lucie Meier. Photo: Peter Lindbergh

Luke and Lucie Meier. Photo: Peter Lindbergh

Wyatt Allgeier

Wyatt Allgeier is a writer and an editor for the Gagosian Quarterly. He lives and works in New York City.

See all Articles

Wyatt AllgeierLucie and Luke, I’d love to hear about both of your interests, generally, in the world of visual art. Have museums and galleries, or particular artists, been important in your approach at Jil Sander? What other areas of visual culture do you look to for inspiration?

Lucie and Luke MeierOur interests in visual art are quite eclectic. Since our work, too, is to create things, we are naturally drawn to technique as well as the feeling and the emotion evoked by the work. We try to understand the mediums selected and why artists utilize materials the way that they do in order to transmit feelings or concepts.

Experiencing Richard Serra’s work, we are always drawn to the powerful shapes he creates—the volumes, the feeling of traveling through the work. He’s a favorite. Gerhard Richter is too, for his technique: a master. Pablo Picasso and Louise Bourgeois, for their vast bodies of work—just remarkable output at such a consistently high level. Cy Twombly, for his humanity and his gestures. Noah Davis, for beauty. Rudolf Stingel, Lucie Rie, Ed Ruscha, Theaster Gates, Donald Judd, Dan Flavin, Kerry James Marshall, Anne Imhof, Matthew Barney, David Hammons, Agnes Martin, Robert Gober, Barry McGee, Pamela Rosenkranz, Cai Guo-Qiang, and many others have been an inspiration.

We absolutely look at art for inspiration. In a certain sense art is a freer form of expression than the work we do, as artists are not restricted by the scale of the human body. It’s wonderful to feel an emotion through someone’s work, perhaps delivered in a way that you wouldn’t expect. The transmission of emotion through images, through shapes and materials, is what we try to do with our work, and experiencing art grants us opportunities to feel this from other places. We also look at film and photography, as well as performance.

WAFor the most recent Jil Sander campaign, for the Fall/Winter 2021 collection, you’ve partnered with Joel Meyerowitz. How did you first become aware of his photography practice?

L&LMWe’ve been looking at Joel’s work for many, many years. We’ve seen various exhibitions of his photography, and his work has constantly recurred in our conversations. Ever since we started at Jil Sander, we'd wanted to have him work on a project with us, and finally the concept, timing, and logistics all worked out. It was a nice coincidence that he is also living and working in Italy, so it was a somewhat local project for us.

“Tuscany: Documented by Joel Meyerowitz.” Video: courtesy Jil Sander

WAAnd what about his work made you think he’d be the right fit for this particular collection?

L&LMHe could work with any collection of ours, he is that versatile and talented. It was incredible to see him work and how particular his eye was when it came to light. This collection is particularly strong in terms of materiality and we really wanted to work with light to show the depth of the garments. Joel is an absolute master of lighting.

WACould you tell us about the collaborative process with Joel? How were locations scouted? What was the casting process like? How involved were all parties in selecting the final edit?

L&LMThe process throughout was very collaborative. Joel was insistent that we would work together closely to reach the right feeling. Since the shoot was in an area of Tuscany that he knew very well, he scouted and sent photos and proposals, which we then discussed together. Once on-site, we spent a day walking around together and finalizing the road map. For casting, we sent Joel the proposals of who we wanted to work with and then had a conversation. Editing was the same: we had a long dialogue together about which photos to use.

Fashion and Art: Lucie and Luke Meier

Jil Sander Fall/Winter 2021 collection. Photo: Joel Meyerowitz

WADo you have plans to collaborate with other photographers moving forward?

L&LMWe are always open to working with outstanding creative people. This is the joy of our job. We find it satisfying to develop our vision of Jil Sander along with contributors who can bring something of their own approach to the work.

WAJil Sander has recently opened a stunning pop-up shop on Greene Street in New York. The design is powerful and elegant. Could you tell us about the inspiration for the space and how it functions in relation to other projects?

L&LMThe initial starting point was to create a serene and transportive space. We were inspired to build shapes as well as flat surfaces in the same color and finish, blurring the boundaries between the space and the functional objects within it. There will be two additional installations.

WACould you tell us about any future projects or collaborations that you’re working on for Jil Sander?

L&LMWe’re working on several new architectural projects, which will be revealed to the public soon.

Photos: courtesy Jil Sander

Still from video, featuring artwork by Jonas Wood

Behind the Art
Jonas Wood in Hong Kong

Join Jonas Wood on a virtual tour through the creation of his first solo exhibition in Hong Kong. Wood narrates the genesis and development of the new paintings, drawings, and wallpaper.

Ugo Mulas, Jasper Johns, 1964, vintage gelatin silver print, 9 ⅞ × 14 ½ inches (25 × 37 cm), Ugo Mulas Archive, Milan © Ugo Mulas Heirs

Jasper Johns: Mind/Mirror

Carlos Basualdo, the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, and Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art, New York, spoke with the Quarterly’s Alison McDonald ahead of the opening of the unprecedented collaborative retrospective Jasper Johns: Mind/Mirror to discuss the goals, revelations, and unique structure of the project.

Issy Wood, The down payment, 2021, oil on linen.

Picture Books: Ottessa Moshfegh and Issy Wood

Emma Cline introduces her new publication project, Picture Books, with a conversation between author Ottessa Moshfegh and artist Issy Wood.

Jenny Saville, Pietà I, 2019–21, charcoal and pastel on canvas

Jenny Saville: A cyclical rhythm of emergent forms

An exhibition curated by Sergio Risaliti, director of the Museo Novecento, Florence, pairs artworks by Jenny Saville with artists of the Italian Renaissance. On view across that city at the Museo Novecento, the Museo di Palazzo Vecchio, the Museo dell’Opera del Duomo, the Museo degli Innocenti, and the Museo di Casa Buonarroti through February 20, 2022, the presentation features paintings and drawings by Saville from the 1990s through to work made especially for the occasion. Here, Risaliti reflects on the resonances and reverberations brought about by these pairings.

Installation view, Semiotext(e) exhibition at the 2014 Whitney Biennial

Leaders in the Arts: Publishing Edition

Chris Kraus and Hedi El Kholti, coeditors of the legendary press Semiotext(e), speak with Kandis Williams, the founder and editor of Cassandra Press, and Lisa Pearson, the founder and editor of Siglio Press.

Tyler Mitchell, Untitled (Lunarlander), 2021

Social Works II: Tyler Mitchell | A New Landscape

Tyler Mitchell speaks with Antwaun Sargent about Black representation, the diversity of Southern landscapes, and the importance of play in his new series of photographs. The conversation forms part of “Social Works II,” a supplement guest edited by Sargent for the Winter 2021 issue of the Quarterly.

Edmund de Waal, stone for two hands and water, 2021, Hornton stone, bamboo, and water, 27 ⅜ × 56 ¾ × 23 ⅝ inches (69.5 × 144 × 60 cm), installation view, Henry Moore Studios & Gardens, Perry Green, England

The Thinking Hand

Edmund de Waal speaks with Richard Calvocoressi about touch in relation to art and our understanding of the world, and discusses the new stone sculptures he created for the exhibition This Living Hand: Edmund de Waal Presents Henry Moore, at the Henry Moore Studios & Gardens. Their conversation took place at the Fitzwilliam Museum, University of Cambridge, in the context of the exhibition The Human Touch.

Portrait of Sir John Richardson, New York, 2005. Photo: Janette Beckman/Getty Images

The Art of Biography: Sir John Richardson’s “The Minotaur Years”

Pepe Karmel celebrates the release of A Life of Picasso IV: The Minotaur Years, 1933–1943, the final installment of Sir John Richardson’s magisterial biography.

GCC Founding Committee surrounded by grass and trees

The Bigger Picture
Gallery Climate Coalition

Gallery Climate Coalition founders Victoria Siddall and Heath Lowndes speak with Adele Minardi from Gagosian, London, about the origins of the coalition, its goals, and concrete steps that every actor in the art industry can take to reduce carbon emissions.

Diego Rivera, The Making of a Fresco Showing the Building of a City, installation view, San Francisco Art Institute (SFAI)

The San Francisco Art Institute: Its History and Future

Constance Lewallen marks the 150th anniversary of the San Francisco Art Institute, exploring the school’s evolution and pioneering faculty, as well as current challenges and the innovations necessary for its preservation.

Georg Baselitz working on Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast)

Georg Baselitz: Pulling Up the Image

In celebration of five recent projects related to Georg Baselitz, Richard Calvocoressi, Max Hollein, and Katy Siegel speak with the artist and look at his prolific career.

Markuskyrkan (St. Mark’s Church), Björkhagen, Sweden, 1956–60.

Sigurd Lewerentz

On the occasion of the exhibition Sigurd Lewerentz: Architect of Death and Life at ArkDes, Stockholm, Mark Francis speaks with Kieran Long, Adam Caruso, and Anna Nittve about the enduring legacy of Lewerentz and the singular qualities of the revered architect and his work.