Simone Bellotti’s debut at Jil Sander was the cleanse the brand needed after years of somewhat clumsy minimalism under Lucie and Luke Meier. This wasn’t a debut as “big” as Demna’s soft launch at Gucci, nor as sexy as what we’ll likely see in a few days at Dario Vitale’s Versace. Still, Bellotti felt like a natural fit for Sander from the start: his few seasons at Bally intrigued with so-odd-it’s-good silhouettes, Swiss-inspired metalware details, and genuinely desirable accessories. And while Bally has once again descended into chaos (will that brand ever find peace?), Jil Sander now has a fresh sense of direction.
But is it truly new? Perhaps “refreshed” is the better word. The newly appointed creative director embraced radical purism, stripping away any superfluity from a cobalt-blue midi dress or a pristine white men’s coat. The collection recalled Raf Simons’ finest work at the house, as well as Jil Sander’s own uncompromising legacy: no-nonsense minimalism, rooted in the clean lines of Bauhaus modernism but refracted through a chic, Milanese lens. Some critics dismissed Bellotti’s work as naked – stripped of meaning or emotion. Yet the collection contained near-perfect garments: versatile, quietly desirable pieces that could even make the Olsens rethink a thing or two. In comparison, the wave of minimalist shows that clogged New York Fashion Week now feels flat, surface-level, and forgettable beside Jil Sander.
And having Guinevere Van Seenus – the ultimate Jil Sander woman – open the show was a witty, resonant gesture. Back to the roots.
Collage by Edward Kanarecki.
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