“Confused precision” was how Rodolfo Paglialunga summed up his sophomore womenswear collection for Jil Sander. Straight lines dominated by elongated coats and tunics over trousers were interrupted by the use of enlarged plaid checks. The geometry was deliberately misplaced, and turned up unexpectedly as prints which resembled the work of Dutch artist Theo van Doesburg. Diagonal seams and stripes went hand in hand to further warp the rigid foundations of classic Jil Sander tailoring. Paglialunga likened this orderly disorder to life: “You’re not sure what’s going to happen next. You want to see some sort of humanity and reality in the clothes.”
Stand out looks:
A stroke of wild abandon came in the form of a brushed carpet coat resembling weathered Moroccan boucherouite rugs, which represent domesticity. Every now and again ruffled high-necked collars popped up in shades of green, yellow and pink – they’re the personal touches that Paglialunga brings in order to create his vision for the house, as he noted backstage: “There’s definitely more of me in this collection. I’m putting so much of myself out there.”
The 1937 American classic “My Funny Valentine” kept fading in and out on Frédéric Sanchez’s mashed up soundscape, but it wasn’t one of the standard Frank Sinatra or Ella Fitzgerald versions, it was one recorded by Nico. That same contrast was reflected in the collection, as classicism came up against something off-kilter. Even a monochrome wool jacquard coat seemed to echo the dissonance of sound. The set also did the same, as monolithic pillars were rendered in bright pops of colour. That contrast seems to be defining what Paglialunga is doing at Jil Sander. Yes, rigour and straight-laced minimalism must be maintained but there’s wiggle room for things to go ever so slightly astray.