Simone Bellotti titled his Fall/Winter collection Leistung Aufführung, combining two German words that loosely translate to “performance” or “achievement,” with Aufführung specifically meaning “to stage a play.” The title itself is open to interpretation but likely reflects the role Bellotti has taken on since his debut at Bally just a year and a half ago—revitalising the Swiss house with both strong sales and refined aesthetics. Naturally, this collection built on his previous work, featuring even more cinched waists, rich wool, and plenty of moccasins. Bally’s production of shoes revolves around practicality, the utilitarian—if we were to be on the nose. As Bally has a short vestimentary history, Bellotti is allowed to steer it and the ensuing narrative as he pleases.

The collection details cropped and fitted hunt jackets paired with wide, slouchy slacks and a black cropped hunt jacket tucked into a skirt of the same fabric with accordion pleats that make it fan over the hips, exaggerating them before scooping back in and grazing the knee. 

The peplum shape, adapted from a cowbell and originally worked into much of Spring/Summer, appeared again, a key difference being that it adapted to both femme and masc looks. The shape was also added to the waist of a matching cap-sleeved leather blouse and skirt with a fluted hem. 

Peplum, in its fullest and most successful realisation, was transformed into a cummerbund and styled over trousers. In a men’s look, the peplum flared from under a black slouchy bomber jacket in a double layer of serge grey and white, floating above a straight-cut trouser. 

Further emphasis on the waist and hip was created by darts and a seam that ran the circumference of the garment, which, in a masterstroke of engineering, again exaggerated the hips. There was a viridescent green calf-length skirt in this technique worn back with a lumpy grey sleeveless vest, a peach collared shirt dress, and a blue plaid version too—both as a mock-neck dress and skirt separate. 

Menswear was long and narrow, with topcoats and greatcoats, suits, or maxi-size four-button suits worn with a black skullcap; there was a constant thrust between a fuller silhouette and the slim. No complaints, though, for the use of shades (black, charcoal and mossy grey) unified these otherwise diverse elements. Splashes of brighter colour, although minimal, were included in sequin embellishment and across the models’ faces, which were coated in silver and gold leaf as a tribute to Swiss painter and graphic artist Luciano Castelli. 

Accessories (after all, Bally is by virtue an accessories house) included harness belts, sturdy brogues with straps for both men and women, and low-heeled buckle shoes that recalled an advert for a Bally style in 1940 that was described as, “for every day and all day long.” The wording from that ad copy could be lifted and applied here, with Bellotti giving us a range of clothes that are not only covetable but also wearable and wantable, all day long.