Welcome home, where it all begins. Look again. The interiors are outside. The home is just a spare suggestion: furniture laid out en plein air, a table covered in latex, a sofa wrapped in foil. There is no floorplan. Everything is placed on the runway of a private airport - another place where things begin, either taking off or landing.

For the new JIL SANDER campaign, Simone Bellotti explores heightened restraint from a tense visual and narrative standpoint. The powerful simplicity that’s intrinsic to the ethos of the house gets twisted. The idea of contradiction - moreness with meaning, the superfluous that becomes essential, the act of adding mirroring the gesture of taking away - shapes a fragmented, abridged visual tale. The plot is deliberately abstract: an invite for the viewers to fill the gaps however they prefer. Hitchcock and Fassbinder echo here and there, but it’s just faint hints.

The images, with their grainy texture and desaturated VHS hues, are actually stills from a short movie shot by photographer and videographer Moni Haworth. Protagonists are Edie Campbell and Daisuke Ueda, caught in moments of tension, feverishness, introspection. Are they living on the runway? Are they ready to depart or just landed? The story is really anyone’s guess, the plot further broken by the score - If This Is Hell (feat. Deuén) by Space Afrika - the lyrics spoken at breakneck speed.

“I wanted to convey tension and surprise with the least means possible - says Simone Bellotti - Doing more with less is so very JIL SANDER, but this time we explored rather eerie routes. There is a sense of elegance, filled with erotic electricity”.

An unsettling feeling comes forward, unveiling the beauty of contradictions, of things that cannot be fully explained and charm because of that.