Tweet
Bottega Veneta Spring/Summer 2012 by Tomas Maier
I have a special relation to Bottega Veneta, because working myself as designer since more than one decade in the high-leveled leathergoods' business, I know this wonderful label since 20 years, and visiting Milano in 2000 with my husband (for planing our presentations at MIFUR/MIPEL) and, naturally Bottega Veneta at Via Monte Napoleone. At that time - still not owned by GUCCI - they showcased there exclusive products in a very little, but exclusive shop down there.
"Urban Ethnic" is the term Tomas Maier is using for his summer collection. "Open your eyes to what's around you. Sometimes you don't need to go on vacation to be inspired."Often are the times when such fashiony-tags as "urban ethnic" turn out to be nothing more than a skimpy excuse for a bit of predictable jungley print and executive safari-tailoring. But Maier's no lazy reworker of stock clichés. Really, when he looks around him it's almost as an anthropologist or sociologist applying himself to the needs, desires, and behaviors of the tribe of modern women. As we all know, these mentalities are complex and varied and very often not even touched on by designers who are more carried away by wanting to fit into a trend than fitting a whole way of live.
But at Bottega Veneta, Maier comes at it from the opposite perspective: Instead of complying with today's quick-fire, one-message standard method of showing, he goes in deep, takes his time, and develops the kind of intelligent variety absent from so many shows. Often, the true nature of the clothes outwits being captured by mere photography or even described by standard fashion vocabulary.
His indefinable collages of stripes of artily appliquéd chiffon running over offhand looking dresses; his A-line gabardine skirt with knife-edge inserts of plastic-bound leather pleating; his all-over-dappled green cardigan printed to merge with a matching plissée-tiered dress - all of these can only be understood if you hold them or put them on.
Still, despite Maier's emphasis on unique and mysterious surfaces, it's the comprehensive grip on filling slots in the wardrobe which is impressive. He did graphic renditions of the summer shirt dress he's made a Bottega signature. This time it's tailored with patches of leather in a way that hinted at motocross styling. Maier had great knits, either a cardigan-jacket hybrid or an abstracted vaguely Mexican-blanket-patterned cotton. And suddenly, a hip, grown-up trio of elongated blazers, worn with bagg denims and large, fringed jersey scarves.
Pleating was a big message here, as it has been on many other runways this season (thank you, Madame Gres exhibition in Paris). As much evident from the first look out, a printed green bustier dress with a plissée skirt. Maier returned to the motif at the end with aseries of cocktail dresses embroidered with tucked and folded swaths of stretch mesh. In between, he added a panel of graphic black and white beading to the waistline of a red gabardine number, and titled the bodice of another with shiny little squares. Less compelling were a pair of shifts appliquéd with clear plastic in such a way that they looked loke aprons. To close, there was a parade of glorious chiffon goddess gowns, each one more vibrant than the next.
As ever, the handbags were as luxe as it gets, in matte and glazed crocodile of grommeted ostrich skin. A tote in natural lizard was overlaid with intrecciato leather in bright indigo. It was indicative of the kind of experimentation that gave the collection its palpable joie de vivre.
Bottega Veneta Spring/Summer 2012 by Tomas Maier
I have a special relation to Bottega Veneta, because working myself as designer since more than one decade in the high-leveled leathergoods' business, I know this wonderful label since 20 years, and visiting Milano in 2000 with my husband (for planing our presentations at MIFUR/MIPEL) and, naturally Bottega Veneta at Via Monte Napoleone. At that time - still not owned by GUCCI - they showcased there exclusive products in a very little, but exclusive shop down there.
"Urban Ethnic" is the term Tomas Maier is using for his summer collection. "Open your eyes to what's around you. Sometimes you don't need to go on vacation to be inspired."Often are the times when such fashiony-tags as "urban ethnic" turn out to be nothing more than a skimpy excuse for a bit of predictable jungley print and executive safari-tailoring. But Maier's no lazy reworker of stock clichés. Really, when he looks around him it's almost as an anthropologist or sociologist applying himself to the needs, desires, and behaviors of the tribe of modern women. As we all know, these mentalities are complex and varied and very often not even touched on by designers who are more carried away by wanting to fit into a trend than fitting a whole way of live.
But at Bottega Veneta, Maier comes at it from the opposite perspective: Instead of complying with today's quick-fire, one-message standard method of showing, he goes in deep, takes his time, and develops the kind of intelligent variety absent from so many shows. Often, the true nature of the clothes outwits being captured by mere photography or even described by standard fashion vocabulary.
His indefinable collages of stripes of artily appliquéd chiffon running over offhand looking dresses; his A-line gabardine skirt with knife-edge inserts of plastic-bound leather pleating; his all-over-dappled green cardigan printed to merge with a matching plissée-tiered dress - all of these can only be understood if you hold them or put them on.
Still, despite Maier's emphasis on unique and mysterious surfaces, it's the comprehensive grip on filling slots in the wardrobe which is impressive. He did graphic renditions of the summer shirt dress he's made a Bottega signature. This time it's tailored with patches of leather in a way that hinted at motocross styling. Maier had great knits, either a cardigan-jacket hybrid or an abstracted vaguely Mexican-blanket-patterned cotton. And suddenly, a hip, grown-up trio of elongated blazers, worn with bagg denims and large, fringed jersey scarves.
Pleating was a big message here, as it has been on many other runways this season (thank you, Madame Gres exhibition in Paris). As much evident from the first look out, a printed green bustier dress with a plissée skirt. Maier returned to the motif at the end with aseries of cocktail dresses embroidered with tucked and folded swaths of stretch mesh. In between, he added a panel of graphic black and white beading to the waistline of a red gabardine number, and titled the bodice of another with shiny little squares. Less compelling were a pair of shifts appliquéd with clear plastic in such a way that they looked loke aprons. To close, there was a parade of glorious chiffon goddess gowns, each one more vibrant than the next.
As ever, the handbags were as luxe as it gets, in matte and glazed crocodile of grommeted ostrich skin. A tote in natural lizard was overlaid with intrecciato leather in bright indigo. It was indicative of the kind of experimentation that gave the collection its palpable joie de vivre.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photography by Yannis Vlamos/GoRunway
Enjoy my previous post -
1 comment:
Absolutely chic & sophisticated couture. I love the color blocking of vibrant crimson & tangerine hues...mixing of colorful stripes & print is attractive.My favorite is purple-blue,layered, sheer, sexy gown.Amazing editorial, dear Andrea!!!...Regards, Shagun
Post a Comment