Simone Bellotti returned to Jil Sander’s 1990s Milan show space for his sophomore outing, following his debut there for the brand last season. This time around, he had a warm and intimate vision for fall 2026. The minimalist, off-white space overlooking the medieval fortress Sforza Castle was softened with conversation-pit seating in velvety, burnt sienna. The son of an upholsterer, Bellotti explored the layered meaning of house as a brand and a personal space, both shaped by lived experience. The soundtrack featured Kim Gordon reading a poem by the Italian writer Chiara Barzini, titled “The House Above the Sea,” which explores fond memories of a childhood home and the longing to recapture that sense of rootedness later in life.
Like any home, a fashion house passes between successive occupants. In Barzini’s poem, the line “A new home. And look, it’s already furnished!” carries a note of unease: the house in question stands “like someone else’s story, complete with keys and napkins.” Bellotti, too, inherits Jil Sander pre-furnished. Its founder’s minimalist aesthetic looms large, and his task is not to dismantle it entirely, but to inhabit it on his own terms. The first three looks—roomy, single-breasted suiting and coats—could have been designed by Sander herself. Then came her longtime muse Guinevere Van Seenus in an off-the-shoulder dress that swirled around the body like a bedsheet, introducing a sensuality that felt distinctly Bellotti.
The Fontana-esque slashes from Bellotti’s debut followed soon after, rotated ninety degrees along A-line skirts slit from thigh to knee. It was a clear sign he is already shaping his own narrative within these walls, one that is looser and freer. And even a bit whimsical: a peplum jacquard minidress accentuating feminine curves looked like its fabric could have been stripped from an armchair. Undulating seams traced the figure, softening sharply tailored leather dresses, while strict pencil skirts were scooped on one side to reveal a single leg. The collection culminated in simple black and white parachute dresses and skirts that translated cool restraint into fluid, playful forms.
