I absolutely agree with this statement. You nailed it.
Debut design from Daniel Lee
- Thread starter wheihk
- Start date
Well thanks a lot TotinScience. I actually thought the clutch was sort of cool. Now I cannot unsee this image.
I live to serve.. people unseeable imageryWell thanks a lot TotinScience. I actually thought the clutch was sort of cool. Now I cannot unsee this image.
Did anyone see the new collection? I really loved it! Although I'm sure i'm in the minority lol
I just watched the FW show from Milan. I'll get the snaps posted asap.
If you like the Herman Munster aesthetic you're gonna love it.
Lots and lots of leather. Astronaut-y Motorcycle boots. Do be careful though if you have small dogs at home, you could inadvertantly step back and crush the little thing. They looked (on the runway) like they may have weighed 10lbs each. @diane278 - no need to shop Hermes for your box-style clutches. BV now has them all. Very square, very boxy clutches. Quilted leather square bags. No intrecciato in sight. Didn't look to me like the artisans in the atelier will be too busy. There was a "Pouch" that looked like it was make of ostrich feathers - cool, but I have a feeling it wasn't feathers. Perhaps shards of patio chair webbing? The women's hooves, erm I mean shoes were.... uh....
If you like the Herman Munster aesthetic you're gonna love it.
Lots and lots of leather. Astronaut-y Motorcycle boots. Do be careful though if you have small dogs at home, you could inadvertantly step back and crush the little thing. They looked (on the runway) like they may have weighed 10lbs each. @diane278 - no need to shop Hermes for your box-style clutches. BV now has them all. Very square, very boxy clutches. Quilted leather square bags. No intrecciato in sight. Didn't look to me like the artisans in the atelier will be too busy. There was a "Pouch" that looked like it was make of ostrich feathers - cool, but I have a feeling it wasn't feathers. Perhaps shards of patio chair webbing? The women's hooves, erm I mean shoes were.... uh....
if i zoom in that clutch it looks like rounded strap of leather to me, kinda leather spaghetti?...
mmmm leather spaghetti.
Spaghecciato?
well, given that it's so curled, maybe it's 'intrenoodles'??
Tim's review made me chuckle:
BY TIM BLANKS FEBRUARY 23, 2019 03:10
MILAN, Italy — It seems like an age since unknown quantity Daniel Lee was ushered in to a new era at Bottega Veneta, superseding Tomas Maier’s transformative 17 years at the helm. There was a pre-collection that wet fashion’s whistle, but Friday’s catwalk unveiling was the real main event. And wouldn’t you just know that anticipation is the sternest taskmaster of all? Lee himself looked so drained, so hunted after the show that a mere hello felt cruel.
Understandable. Maier built a world of peculiar psychological depth at Bottega. Yes,there was the luxury of the beautifully crafted accessories. The intrecciato bags! But there were also clothes that expressed a very peculiar, very particular worldview, distilled from decades of film noir and Hitchcock and the brittle social interactions that intrigued Maier. Where did that leave Daniel Lee? Would he acknowledge or would he reject? The opening look — black leather dress, portrait neckline — felt like some kind of common ground, a transition. Then Lee launched his radical re-interpretation of BV. Bye-bye film noir. Hello, The Matrix, complete with gigantic, stomping boots to kick your way into the future.
It was awkward, it was heavy, dark and dystopian. Intrecciato exploded, leather quilted in defence or tiled in odd articulation, dissected knitwear, clumsy silhouettes that nipped waists and pushed shoulders back. And all the time, trousers tucked into those boots, the footwear of militant young men and women. The grim, blunt-toed highheels were scarcely an alternative. Lee came to BV vaguely wreathed in his stint at Celine, a label which is, in the light of subsequent developments, already a misty hinterland of fashion myth. There has been some speculation that BV might scoop the old Celine business. Pardon me if my brow knits into a Botox-proof groove at that notion, on Friday’s evidence at least. Poor exhausted Daniel Lee said that all he wanted to do is make beautiful clothes. Let’s step back, take a deep breath and give him the benefit of the doubt.
BY TIM BLANKS FEBRUARY 23, 2019 03:10
MILAN, Italy — It seems like an age since unknown quantity Daniel Lee was ushered in to a new era at Bottega Veneta, superseding Tomas Maier’s transformative 17 years at the helm. There was a pre-collection that wet fashion’s whistle, but Friday’s catwalk unveiling was the real main event. And wouldn’t you just know that anticipation is the sternest taskmaster of all? Lee himself looked so drained, so hunted after the show that a mere hello felt cruel.
Understandable. Maier built a world of peculiar psychological depth at Bottega. Yes,there was the luxury of the beautifully crafted accessories. The intrecciato bags! But there were also clothes that expressed a very peculiar, very particular worldview, distilled from decades of film noir and Hitchcock and the brittle social interactions that intrigued Maier. Where did that leave Daniel Lee? Would he acknowledge or would he reject? The opening look — black leather dress, portrait neckline — felt like some kind of common ground, a transition. Then Lee launched his radical re-interpretation of BV. Bye-bye film noir. Hello, The Matrix, complete with gigantic, stomping boots to kick your way into the future.
It was awkward, it was heavy, dark and dystopian. Intrecciato exploded, leather quilted in defence or tiled in odd articulation, dissected knitwear, clumsy silhouettes that nipped waists and pushed shoulders back. And all the time, trousers tucked into those boots, the footwear of militant young men and women. The grim, blunt-toed highheels were scarcely an alternative. Lee came to BV vaguely wreathed in his stint at Celine, a label which is, in the light of subsequent developments, already a misty hinterland of fashion myth. There has been some speculation that BV might scoop the old Celine business. Pardon me if my brow knits into a Botox-proof groove at that notion, on Friday’s evidence at least. Poor exhausted Daniel Lee said that all he wanted to do is make beautiful clothes. Let’s step back, take a deep breath and give him the benefit of the doubt.
And Bridget's Review made me cackle:
Bottega Veneta RTW Fall 2019
In his runway debut for Bottega Veneta, Daniel Lee courted the Phoebe Philo customer. He showed some promise and some clunkers.
By Bridget Foley on February 22, 2019
“I’m tired. I don’t know what to say,” Daniel Lee said in the backstage post-show scrum at Bottega Veneta, when asked for a soundbite. Really pal? You’re 33, this is your runway debut at a major house owned by a top-tier luxury group, and you’re too tired to parse out a one-liner about your clothes? Not to make this season only about Karl Lagerfeld (unfair to the designers who’ve all worked hard), but the mind couldn’t help but zip-line to Karl’s well-reported opinion of such designer fatigue.
Lee’s show notes offered some context: “a celebration of freedom, self-expression and sensuality.” Vague but not inaccurate, especially regarding self-expression; Lee offered range via the integration of sensual, sparkly jersey shirtdresses and deconstructed knits into his primary platform of ample, demonstrative tailoring. This was his audition for the Phoebe Philo client. She’s out there in droves, and a multibrand contest for her affections is underway. Lee has an advantage; he worked under Philo at Celine for years. He saw her approach to design and the evolution of her aesthetic up close, and likely contributed to them.
But ultimately, they belong to Philo. Part of the appeal there was her woman-to-woman conversation manifested through fashion. That’s not to say men can’t capture that audience (Jonathan Anderson has made impressive inroads). But they have to approach it differently; trying to re-create Philo’s Celine isn’t enough. One could see Lee’s discipleship in bold accents on simple shapes: for example, the industrial, single-buckle closure on a sturdy coat, and in looks that were body-con and not impractically sexy, as in interesting knit dresses. Throughout, Lee strove for an aura of woman-friendly chic — and men-friendly; the show was coed — in practical silhouettes with some flourish of cut and materials to elevate the clothes beyond tony classics.
At times he succeeded. But too often, the clothes felt clunky, more so the women’s than the men’s. Particularly with tailoring, Lee seemed content to give the guys a clean-lined coat and leave it at that. For women, he draped, bloused and cinched waists in substantive fabrics that didn’t take well to such treatment. To that point, reinterpreting Bottega’s signature Intrecciato weave for clothing purposes required defter treatment than Lee provided. Some coats looked about as comfortable to wear as bathroom tiles and conversely, a wrapped aqua puffer skirt looked a little too comfortable.
That said, Lee worked with ample confidence, and deserves kudos for his bold strokes with silhouette and materials. He showed a good deal to build on, and a long way to go.
Side Note: I completely agree about the KL comment. He worked tirelessly till 85, he was in charge of upwards of 18+ collections PER YEAR, and the man still had the energy to give interviews, soundbites, documentaries, etc. If this dude is already tired, then I don't know how long he'll last, especially given that Bottega is an international, big brand.
Bottega Veneta RTW Fall 2019
In his runway debut for Bottega Veneta, Daniel Lee courted the Phoebe Philo customer. He showed some promise and some clunkers.
By Bridget Foley on February 22, 2019
“I’m tired. I don’t know what to say,” Daniel Lee said in the backstage post-show scrum at Bottega Veneta, when asked for a soundbite. Really pal? You’re 33, this is your runway debut at a major house owned by a top-tier luxury group, and you’re too tired to parse out a one-liner about your clothes? Not to make this season only about Karl Lagerfeld (unfair to the designers who’ve all worked hard), but the mind couldn’t help but zip-line to Karl’s well-reported opinion of such designer fatigue.
Lee’s show notes offered some context: “a celebration of freedom, self-expression and sensuality.” Vague but not inaccurate, especially regarding self-expression; Lee offered range via the integration of sensual, sparkly jersey shirtdresses and deconstructed knits into his primary platform of ample, demonstrative tailoring. This was his audition for the Phoebe Philo client. She’s out there in droves, and a multibrand contest for her affections is underway. Lee has an advantage; he worked under Philo at Celine for years. He saw her approach to design and the evolution of her aesthetic up close, and likely contributed to them.
But ultimately, they belong to Philo. Part of the appeal there was her woman-to-woman conversation manifested through fashion. That’s not to say men can’t capture that audience (Jonathan Anderson has made impressive inroads). But they have to approach it differently; trying to re-create Philo’s Celine isn’t enough. One could see Lee’s discipleship in bold accents on simple shapes: for example, the industrial, single-buckle closure on a sturdy coat, and in looks that were body-con and not impractically sexy, as in interesting knit dresses. Throughout, Lee strove for an aura of woman-friendly chic — and men-friendly; the show was coed — in practical silhouettes with some flourish of cut and materials to elevate the clothes beyond tony classics.
At times he succeeded. But too often, the clothes felt clunky, more so the women’s than the men’s. Particularly with tailoring, Lee seemed content to give the guys a clean-lined coat and leave it at that. For women, he draped, bloused and cinched waists in substantive fabrics that didn’t take well to such treatment. To that point, reinterpreting Bottega’s signature Intrecciato weave for clothing purposes required defter treatment than Lee provided. Some coats looked about as comfortable to wear as bathroom tiles and conversely, a wrapped aqua puffer skirt looked a little too comfortable.
That said, Lee worked with ample confidence, and deserves kudos for his bold strokes with silhouette and materials. He showed a good deal to build on, and a long way to go.
Side Note: I completely agree about the KL comment. He worked tirelessly till 85, he was in charge of upwards of 18+ collections PER YEAR, and the man still had the energy to give interviews, soundbites, documentaries, etc. If this dude is already tired, then I don't know how long he'll last, especially given that Bottega is an international, big brand.