At Jil Sander, there seemed to be tension between the precise geometry of its designer, Raf Simons, and the Sander heritage of sleek severity. It reverberated from the taut raised-waist coats, from asymmetric sweater necklines and from an overall feeling that the designer was straining for ultra-modernity.
“I wanted to inject a lot of energy,” Mr. Simons said backstage, presumably referring to graphic inserts of fabric that looked striking as a curve appliquéd on a shirt but was more like trying too hard when organic shapes were attached to coats or developed as side tabs.
This was a collection in which the textures of cable-knit sweaters or shiny black puffa jackets told a more simple story than the complex modern architecture. And as so often in menswear collections, the range of fabrics intrigued but were difficult to digest on the fast-paced runway.