For Spring-Summer 1998, Sitbon contradicted this black romanticism with a conceptual show that played on simple constructions and solid colors without departing from a juxtaposition of contrasting materials.
Autumn-Winter 1998–1999 sounded a tribute to Rothko. Handkerchief dresses appeared like painted works of art. Geometrical motifs were immersed in the small curls of a fabric that alternated with fluid mousseline.
«Skirts and dresses were like crumpled paper in Autumn-Winter 1999–2000. Pleated, painted, tortured, and finished with ribbons, the designs showed a rare poetry, dazzling like a rough draft saved from oblivion.»
«Fresh dresses, overalls, and slips reconstructed the Spring Summer 2002 collection that some were to interpret as a soothing balm in a period of turmoil where the future seemed bleak.»
«Dresses that had something of the 1920s and 1930s about them were the basis for Sitbon’s Autumn-Winter 2002–2003 collection. She partially discolored fabrics, destroyed the bottoms of dresses, and dipped flowers in ominous water.»
«Autumn-Winter 2003–2004 stood out for its multiple uses of stripes and for its racy cutouts.»
