Coats and jackets held their shape as if suspended on the frame, curved for her, or straight for unisex looks. Hidden embroidery cinched coats, jackets and shirts at the waist with origami-like folds. Body hugging knits tucked into double-faced leather skirts featuring a slight peek-a-boo slit across the front. Trousers hugged the hips, sometimes with an ever-so-slightly suggestive slit along the waistband.
Cropped knitwear had an almost shrunken feel, with three-quarter length sleeves layered over lighter plies. Slits across the bodice burst open into to gaping holes that revealed sequin or pleated bralettes. A series of Georgette crepe dresses appeared assembled from raw-edged strips, which the studious designer said were meant to recall the pages of a book.
Bellotti, who joined Jil Sander from Bally in March, said he sought “a balance between … structure and tailoring and classicism, that to me, is like the castle outside. I really think that this brand always has these elements. And so I’m just trying to understand how to make it.’’