Simone Bellotti’s innovative collection showcases the tension between structure and fluidity, drawing inspiration from archival photographs and Swiss culture.
The Bally show during Milan Fashion Week unfolded on the 17th floor of Torre Velasca, a modernist skyscraper that was built in the 1950s and has recently undergone renovations. The event took place with a carefully curated audience of about one hundred guests, highlighting the personal touch of creative director Simone Bellotti, who has been credited with revitalizing the Swiss label, once considered dormant in the fashion industry.
Bellotti named the show “Leistung Aufführung,” which translates from German to mean “performance.” However, it reflects two distinct concepts: Leistung signifies performance related to productivity and achievement, whereas Aufführung suggests performance as a mode of self-expression. His mood board was inspired by poignant black-and-white photographs from the 1950s featuring Bally employees at their desks, surrounded by celebratory gifts and accolades. These somewhat unsettling archival images were creatively reinterpreted on plain cotton totes adorned with delicate wildflower prints and were part of the collection showcased on the runway. Models carried these totes while adorned in stark, structured shirt-suits crafted from thick gray felt, illustrating Bellotti’s signature approach that embraces gentle incongruities.
Among the various images on Bellotti’s mood board, one notable reference was that of a furry quadruped’s hide, alongside a 1970s photograph of Swiss performer Luciano Castelli, who was depicted with heavy makeup and sequined drag attire. These elements surfaced throughout the collection, symbolizing the tension between freedom and restraint as well as instinct and control—contradictions that resonate within Swiss culture itself. Bellotti’s work captured the essence of an idyllic landscape paired with a mystical underbelly, reflecting the duality intrinsic to his designs.
The collection featured a striking contrast of structure and fluidity, with tailored coats and black leather dresses occasionally disrupted by unexpected bursts of fur, which erupted from the back of a piece, peeked from rigid crinolines, or adorned the fronts of midi skirts. These designs were met with critical acclaim for their sensational aesthetic. As Bellotti articulated in an interview, “I crave discipline, but breaking the routine is liberating.” He uses exploration of shapes and volumes as a means to venture beyond the limitations of wearable fashion, drawing closer to the artistic sensibilities of sculpture and avant-garde performance—echoed by the very presence of Castelli at the show.
Further emphasizing this theme, hourglass-shaped dresses made from organza, leather, or checkered blankets featured jutting, rigid circular front inserts, reminiscent of the desks employed by Bally workers. In Bellotti’s words, “It reminded me of the desks used by Bally employees, or the ones where we carry out our daily work routine,” showcasing a blend of elegance with impracticality.
Bellotti also drew influence from Castelli’s sequined drag looks, producing shimmering berets, glitzy sleeveless tops, and voluminous balloon skirts that emerged from structured leather bodices. Many models sported full sequined makeup, creating a striking contrast against sharply tailored garments. Logic, often associated with Swiss heritage, stood in stark juxtaposition with Bellotti’s Italian influences, illustrating his vision where instinct ultimately takes precedence over control in the artistic expression of Bally’s identity.
Source: Noah Wire Services
