Bottega Veneta Ad Campaign Archives - Pics and Information
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Fall/ Winter 2010 - Alla Kostromicheva & Terron Wood by Robert Longo
W Magazin article on the campaign:
Lens Man: Tomas Maier
After reinvigorating Bottega Veneta, Tomas Maier is turning the companys ads into fine-photography showcases.
By Sarah Haight
I feel like I should be doing coke in the bathroom! Robert Longo is standing in front of a bulletin board plastered with printouts of his Men in the Cities series, the early-Eighties graphite drawings based on his black and white photographs of various friends, including Cindy Sherman, each dressed in crisp button-downs and writhing and leaping in midair. Longo pushes his black frame glasses up on his nose and bangs a fist on the pictures as Mick Jagger snarls Under My Thumb over the stereo system. A model skims by and shakes her hips to the music. Longo grins. Isnt this awesome? he shouts.
Its hard to blame him for indulging in some recreational déjà vudays spent running wild in New York with such fellow artists as Sherman, Charles Clough, David Salle and Jack Goldsteinalthough such reminiscing is for a distinctly unbohemian, and very commercial, purpose: Longo is inside a cavernous Chelsea photo studio shooting the fall 2010 Bottega Veneta campaign under the exacting eye of creative director Tomas Maier, himself employed by the multinational Gucci Group, which in turn is owned by PPR. The advertising campaign is a first for Longo, who conceived an album cover for the Replacements and directed a video for R.E.M. and the Keanu Reeves film Johnny Mnemonic. But ever since Apple launched its iPod ads featuring silhouetted hipsters jumping around, he has felt a twinge of envy (mixed, he admits, with irritation) toward what he sees as the appropriation of his seminal Eighties work. Maier, as it turns out, had long admired the artists Cities images, and so earlier this year, he had an agent reach out to Longo about shooting Bottegas fall pieces, which Maier describes as very graphic and inspired by strong women. He said something to the effect of Instead of ripping you off, we want to hire you, Longo says. They got me at hello.
An image from the fall 2010 campaign, photographed by Robert Longo.
Maier seems to have that effect on photographers. Since arriving at Bottega Veneta in 2001, after stints at Hermès and Sonia Rykiel, he has spun the once flagging, overlicensed accessories company into luxury gold: a restrained, trend-free lineup of clothes, bags, shoes and jewelry that last year raked in $495 million in sales. A serious student of photography and design (his father was a successful architect in his native Germany, and as a fashion student at Ecole de la Chambre Syndicale in Paris, Maier trolled local auctions for pieces to buy on the cheap), he shrewdly began trading on his commercial success for more personal projects, namely, hiring fine-art photographers, many whose work he collects, to shoot the companys campaigns. Among those Maier has engaged are Sam Taylor-Wood, Nan Goldin, Lord Snowdon and Larry Sultan. Sultans spring 2009 Bottega campaign shots were some of his last before his death from cancer last December. In an industry that has typically relied on a small cadre of fashion photographers to handle multimillion-dollar advertising projects, the use of, say, Tina Barney (spring 2007) and Philip-Lorca diCorcia (fall 2005) was considered risky, not to mention provocative.
Maier is characteristically blunt on the charge that he likes to push boundaries. It wasnt supposed to be edgy, he says of his decision to alternate photographers each season, using ones untested in fashion (his first try was with still-life photographer Robin Broadbent, for fall 2002). Its a few weeks after the Longo shoot, and were having breakfast in midtown Manhattan. Maier, who is 53 and fond of wearing yellow tinted glasses, gets up by six most mornings, is punctual down to the minute, and, although his English is not perfect, wastes few words to make a point. Im sure people thought it was weird, he says. Were so far in the road that it makes sense now. I think its so right for the company as well.
Unlike some designers, Maier is disinterested in mining the meaning of a hem, or waxing on about the varied inspirations for a line of wallets. Everything he puts on the runway will be sold in stores (I find for a woman nothing is more frustrating than you look at these things and then know theyre unavailable). He believes a dress should fit women across a range of sizes, be crafted extremely well and subtle in its detailing so that it can be worn over and over. That to him is a successful design. He has also distinguished himself at Bottega by streamlining the accessories into a limited number of shapes that evolve each seasonthe Cabat, a basket-weave tote that became an instant best-seller when it debuted in 2002; the Knot, a clutch often name-checked on the red carpetand manage to be both recognizable and discreet. Its an aesthetic Maier parlayed into his campaigns, for which he alone selects the items featured. The photographers, some of whom, like Stephen Shore, have never worked with models, are then given the dresses and bags to play with, almost like props.
I think I understood what he was after at the very beginning, which was an image with character, says Shore, who shot the spring 2006 campaign at an old mansion on Long Island. While he had recently stretched outside his art photography with campaigns for Titleist and Orange, a European mobile-phone company, Shore had yet to break into fashion; since his collaboration with Maier, he has gone on to work with Urban Outfitters and Nike. I admire people who are interested in taking chances, Shore notes. In the late Seventies, I spent a couple of months photographing the Yankees spring training. And then I went to a new magazine that was starting up. And [the art director] said, Well, I really like your portraits of the baseball players. Do you think that you would be capable of taking portraits of football players? Shore sighs. That is a very different kind of thinking than Tomas, who is saying, I love his interiors, and I like the way he sees. I would like to see what he would do with fashion.
Indeed, with the exception of Annie Leibovitz (fall 2007), Nick Knight (fall 2008) and Steven Meisel (fall 2009), Maier has assumed the role of fashion-world initiator for the photographers he works with. He has a wish listat the top was Irving Penn, who repeatedly declined up until his death, at 92, last yearand he counts Thom as Struth and Longos pal Sherman among those to be crossed off. But if Maier is nervous about approaching the artists, they are more startled by the invitations. Shocked, as Shore puts it. Panic and fear, says Goldin.
I was surprised but really grateful, says Barney, who shot a series of pastel-saturated images at Mar-a-Lago in Palm Beach for spring 2007. It took me a long time to get a commercial job, I think because [art directors] worry I would try to control everything. Maier, Barney explains, didnt seem concerned that she would dominate the shoot. The clothes are the ruling element, says Barney, but Tomas gave it over to me. He has real confidence in the people he works with.
Of which, on set, there are few. I think the more people involved, youre always watered down, explains Maier, whose own publicity team steers clear of the action. You want to have very few people around, to keep it very intense.
Perhaps no shoot better captured Maiers craving for intensity than the one he did with Goldin for spring 2010a collection that focused on colors and canvasat a crumbling Staten Island house. The pair had a rocky start, in part because Goldin wanted to hire model Erin Wasson, a no-go for Maier, who preferred a little-known, albeit stunning, Russian blond named Anya Kazakova. I thought, Oh, I cant possibly work with a blond, and then she turned out to be absolutely lovely, says Goldin, who adds that Maier spent most of the shoot in another room (a scout helps select all the locations). His absence was not because of their initial tension, Goldin explains. Maier simply didnt want to intrude on her process. In fact, Maier and Goldin are similar in certain ways: They both cite Cristóbal Balenciaga as a favorite designer, and each wanted the images, which are imbued with natural light, to be authentic to Goldins style, in other words, far from hyperproduced. I never thought Id be able to do a campaign, Goldin admits. People would talk about hiring me and then theyd hire somebody else. [Those photos] would look like mine but totally devoid of any red blood cells. Its really brave of him to use me, actually.
And while Goldins campaign shots are much more polished and subdued compared with her raw images of New Yorks subcultures, circa 1986, there is, as with the austere black and white portraits by Lord Snowdon (fall 2006) and the cool exuberance of Longos photos, a distinct imprint. Just dont expect to see her name, or that of any of Maiers collaborators, on the ads any time soon. When I get the layout [from the art directors], it has the name on the bottom, and I say, You can take that off right away because its insulting, Maier says. If you know anything about photography, you recognize it. If you dont recognize it and you have your doubts, look it up, you know?
W Magazin article on the campaign:
Lens Man: Tomas Maier
After reinvigorating Bottega Veneta, Tomas Maier is turning the companys ads into fine-photography showcases.
By Sarah Haight
I feel like I should be doing coke in the bathroom! Robert Longo is standing in front of a bulletin board plastered with printouts of his Men in the Cities series, the early-Eighties graphite drawings based on his black and white photographs of various friends, including Cindy Sherman, each dressed in crisp button-downs and writhing and leaping in midair. Longo pushes his black frame glasses up on his nose and bangs a fist on the pictures as Mick Jagger snarls Under My Thumb over the stereo system. A model skims by and shakes her hips to the music. Longo grins. Isnt this awesome? he shouts.
Its hard to blame him for indulging in some recreational déjà vudays spent running wild in New York with such fellow artists as Sherman, Charles Clough, David Salle and Jack Goldsteinalthough such reminiscing is for a distinctly unbohemian, and very commercial, purpose: Longo is inside a cavernous Chelsea photo studio shooting the fall 2010 Bottega Veneta campaign under the exacting eye of creative director Tomas Maier, himself employed by the multinational Gucci Group, which in turn is owned by PPR. The advertising campaign is a first for Longo, who conceived an album cover for the Replacements and directed a video for R.E.M. and the Keanu Reeves film Johnny Mnemonic. But ever since Apple launched its iPod ads featuring silhouetted hipsters jumping around, he has felt a twinge of envy (mixed, he admits, with irritation) toward what he sees as the appropriation of his seminal Eighties work. Maier, as it turns out, had long admired the artists Cities images, and so earlier this year, he had an agent reach out to Longo about shooting Bottegas fall pieces, which Maier describes as very graphic and inspired by strong women. He said something to the effect of Instead of ripping you off, we want to hire you, Longo says. They got me at hello.
An image from the fall 2010 campaign, photographed by Robert Longo.
Maier seems to have that effect on photographers. Since arriving at Bottega Veneta in 2001, after stints at Hermès and Sonia Rykiel, he has spun the once flagging, overlicensed accessories company into luxury gold: a restrained, trend-free lineup of clothes, bags, shoes and jewelry that last year raked in $495 million in sales. A serious student of photography and design (his father was a successful architect in his native Germany, and as a fashion student at Ecole de la Chambre Syndicale in Paris, Maier trolled local auctions for pieces to buy on the cheap), he shrewdly began trading on his commercial success for more personal projects, namely, hiring fine-art photographers, many whose work he collects, to shoot the companys campaigns. Among those Maier has engaged are Sam Taylor-Wood, Nan Goldin, Lord Snowdon and Larry Sultan. Sultans spring 2009 Bottega campaign shots were some of his last before his death from cancer last December. In an industry that has typically relied on a small cadre of fashion photographers to handle multimillion-dollar advertising projects, the use of, say, Tina Barney (spring 2007) and Philip-Lorca diCorcia (fall 2005) was considered risky, not to mention provocative.
Maier is characteristically blunt on the charge that he likes to push boundaries. It wasnt supposed to be edgy, he says of his decision to alternate photographers each season, using ones untested in fashion (his first try was with still-life photographer Robin Broadbent, for fall 2002). Its a few weeks after the Longo shoot, and were having breakfast in midtown Manhattan. Maier, who is 53 and fond of wearing yellow tinted glasses, gets up by six most mornings, is punctual down to the minute, and, although his English is not perfect, wastes few words to make a point. Im sure people thought it was weird, he says. Were so far in the road that it makes sense now. I think its so right for the company as well.
Unlike some designers, Maier is disinterested in mining the meaning of a hem, or waxing on about the varied inspirations for a line of wallets. Everything he puts on the runway will be sold in stores (I find for a woman nothing is more frustrating than you look at these things and then know theyre unavailable). He believes a dress should fit women across a range of sizes, be crafted extremely well and subtle in its detailing so that it can be worn over and over. That to him is a successful design. He has also distinguished himself at Bottega by streamlining the accessories into a limited number of shapes that evolve each seasonthe Cabat, a basket-weave tote that became an instant best-seller when it debuted in 2002; the Knot, a clutch often name-checked on the red carpetand manage to be both recognizable and discreet. Its an aesthetic Maier parlayed into his campaigns, for which he alone selects the items featured. The photographers, some of whom, like Stephen Shore, have never worked with models, are then given the dresses and bags to play with, almost like props.
I think I understood what he was after at the very beginning, which was an image with character, says Shore, who shot the spring 2006 campaign at an old mansion on Long Island. While he had recently stretched outside his art photography with campaigns for Titleist and Orange, a European mobile-phone company, Shore had yet to break into fashion; since his collaboration with Maier, he has gone on to work with Urban Outfitters and Nike. I admire people who are interested in taking chances, Shore notes. In the late Seventies, I spent a couple of months photographing the Yankees spring training. And then I went to a new magazine that was starting up. And [the art director] said, Well, I really like your portraits of the baseball players. Do you think that you would be capable of taking portraits of football players? Shore sighs. That is a very different kind of thinking than Tomas, who is saying, I love his interiors, and I like the way he sees. I would like to see what he would do with fashion.
Indeed, with the exception of Annie Leibovitz (fall 2007), Nick Knight (fall 2008) and Steven Meisel (fall 2009), Maier has assumed the role of fashion-world initiator for the photographers he works with. He has a wish listat the top was Irving Penn, who repeatedly declined up until his death, at 92, last yearand he counts Thom as Struth and Longos pal Sherman among those to be crossed off. But if Maier is nervous about approaching the artists, they are more startled by the invitations. Shocked, as Shore puts it. Panic and fear, says Goldin.
I was surprised but really grateful, says Barney, who shot a series of pastel-saturated images at Mar-a-Lago in Palm Beach for spring 2007. It took me a long time to get a commercial job, I think because [art directors] worry I would try to control everything. Maier, Barney explains, didnt seem concerned that she would dominate the shoot. The clothes are the ruling element, says Barney, but Tomas gave it over to me. He has real confidence in the people he works with.
Of which, on set, there are few. I think the more people involved, youre always watered down, explains Maier, whose own publicity team steers clear of the action. You want to have very few people around, to keep it very intense.
Perhaps no shoot better captured Maiers craving for intensity than the one he did with Goldin for spring 2010a collection that focused on colors and canvasat a crumbling Staten Island house. The pair had a rocky start, in part because Goldin wanted to hire model Erin Wasson, a no-go for Maier, who preferred a little-known, albeit stunning, Russian blond named Anya Kazakova. I thought, Oh, I cant possibly work with a blond, and then she turned out to be absolutely lovely, says Goldin, who adds that Maier spent most of the shoot in another room (a scout helps select all the locations). His absence was not because of their initial tension, Goldin explains. Maier simply didnt want to intrude on her process. In fact, Maier and Goldin are similar in certain ways: They both cite Cristóbal Balenciaga as a favorite designer, and each wanted the images, which are imbued with natural light, to be authentic to Goldins style, in other words, far from hyperproduced. I never thought Id be able to do a campaign, Goldin admits. People would talk about hiring me and then theyd hire somebody else. [Those photos] would look like mine but totally devoid of any red blood cells. Its really brave of him to use me, actually.
And while Goldins campaign shots are much more polished and subdued compared with her raw images of New Yorks subcultures, circa 1986, there is, as with the austere black and white portraits by Lord Snowdon (fall 2006) and the cool exuberance of Longos photos, a distinct imprint. Just dont expect to see her name, or that of any of Maiers collaborators, on the ads any time soon. When I get the layout [from the art directors], it has the name on the bottom, and I say, You can take that off right away because its insulting, Maier says. If you know anything about photography, you recognize it. If you dont recognize it and you have your doubts, look it up, you know?
Attachments
Art of Collaboration - Press Release
Bottega Veneta is pleased to anounce the latest in its series of one-of-a-kind creative collaborations, this one with renowned artist Robert Longo. The occasion is the brand's Fall-Winter 2010/2011 avertising campaign, produced in New York this past March.
The Fall-Winter 2010/2011 camppaign marks the first time that Bottega Veneta men's collection will receive its own advertising. Ads will run globally in select titles including GQ, Vanity Fair, The New Yorker, Vogue Hommes and Brutus in Japan.
The Fall-Winter 2010/2011 season is centered on the silhouette and characterized by contrasts of structure and fluidity, stilness and movement and masculine and feminine. The palette is dark and rich, illuminated by flashes of moody iridescence. Both the men's and women's collections touch on the questions of strength and power, exploring ways of dressing that express a multifaceted individuality.
Robert Longo's series 'Men in the Cities', created in the late 1970s and early 1980s, has influenced photographers for decades. The series which depicts men and women in business attire contorted in extreme positions, began as photographs taken by Logan on his rooftop. The artist then created large-scale charcoal and graphite drawings from the photographs. Longo, who works in a wide range of media including sculpture, painting, drawing, photography, and film, has a virtuoso talent for evoking complexe themes with simple, powerful imagery. His graphic style and ability to distill images to a minimum of elements were what led Bottega Veneta Creative Director Tomas Maier to seek him out for the Fall-Winter 2010/2011 campaign. "I have always admired the strength and individuality of Robert Longo's 'Men in the Cities' images", says Maier. "This collection, with its dark palette and emphasis on line and movement, seemed well-suited to his graphic approach. Also, this is the first time we are focusing on both the men's and women's collections and I thought Robert would be the ideal artist to bring the two sides of the brand together. I'm very pleased with the campaign - the images are quite extraordinary."
Robert Longo joins a prestigious list of artists who have contributed to the creation of Bottega Veneta's advertising portfolio. Previous vollaborations include Nan Goldin (Spring 2010), Steven Meisel (Fall 2009), Larry Sultan (Spring 2009), Todd Eberle (Cruise 2009), Nick Knight (Fall 2008), Sam Taylor-Wood (Spring 2008), Annie Leibovitz (Fall 2007), Tina Barney (Spring 2007), Lord Snowdon (Fall 2006), Stephan Shore (Spring 2006) and Philip-Lorca diCorcia (Fall 2005). Bottega Veneta's Fall-Winter 2010/2011 advertising campaign will appear in the August issues of select magazines globally.
http://www.bottegaveneta.com/world/en/stories/arts-of-collaboration.html#/robert-longo
Making-of-Video:
http://www.bottegaveneta.com/world/en/stories/arts-of-collaboration.html#/robert-longo
Bottega Veneta is pleased to anounce the latest in its series of one-of-a-kind creative collaborations, this one with renowned artist Robert Longo. The occasion is the brand's Fall-Winter 2010/2011 avertising campaign, produced in New York this past March.
The Fall-Winter 2010/2011 camppaign marks the first time that Bottega Veneta men's collection will receive its own advertising. Ads will run globally in select titles including GQ, Vanity Fair, The New Yorker, Vogue Hommes and Brutus in Japan.
The Fall-Winter 2010/2011 season is centered on the silhouette and characterized by contrasts of structure and fluidity, stilness and movement and masculine and feminine. The palette is dark and rich, illuminated by flashes of moody iridescence. Both the men's and women's collections touch on the questions of strength and power, exploring ways of dressing that express a multifaceted individuality.
Robert Longo's series 'Men in the Cities', created in the late 1970s and early 1980s, has influenced photographers for decades. The series which depicts men and women in business attire contorted in extreme positions, began as photographs taken by Logan on his rooftop. The artist then created large-scale charcoal and graphite drawings from the photographs. Longo, who works in a wide range of media including sculpture, painting, drawing, photography, and film, has a virtuoso talent for evoking complexe themes with simple, powerful imagery. His graphic style and ability to distill images to a minimum of elements were what led Bottega Veneta Creative Director Tomas Maier to seek him out for the Fall-Winter 2010/2011 campaign. "I have always admired the strength and individuality of Robert Longo's 'Men in the Cities' images", says Maier. "This collection, with its dark palette and emphasis on line and movement, seemed well-suited to his graphic approach. Also, this is the first time we are focusing on both the men's and women's collections and I thought Robert would be the ideal artist to bring the two sides of the brand together. I'm very pleased with the campaign - the images are quite extraordinary."
Robert Longo joins a prestigious list of artists who have contributed to the creation of Bottega Veneta's advertising portfolio. Previous vollaborations include Nan Goldin (Spring 2010), Steven Meisel (Fall 2009), Larry Sultan (Spring 2009), Todd Eberle (Cruise 2009), Nick Knight (Fall 2008), Sam Taylor-Wood (Spring 2008), Annie Leibovitz (Fall 2007), Tina Barney (Spring 2007), Lord Snowdon (Fall 2006), Stephan Shore (Spring 2006) and Philip-Lorca diCorcia (Fall 2005). Bottega Veneta's Fall-Winter 2010/2011 advertising campaign will appear in the August issues of select magazines globally.
http://www.bottegaveneta.com/world/en/stories/arts-of-collaboration.html#/robert-longo
Making-of-Video:
http://www.bottegaveneta.com/world/en/stories/arts-of-collaboration.html#/robert-longo
Attachments
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Here's the 3rd Spring/Summer 2011 ad and a copy of BV's press release.
BOTTEGA VENETA LAUNCHES SPRING/SUMMER 2011 ADVERTISING CAMPAIGN
Bottega Veneta is pleased to announce that photographer Alex Prager has shot the brands Spring/Summer 2011 advertising campaign. The campaign, which features both the womens and mens 2011 ready-to-wear collections, is the latest in Bottega Venetas series of one-of-a-kind creative collaborations featuring the talents of outstanding artists.
Spring/Summer 2011 is a season of ease, informality, and unobtrusive sophistication. The palette is neutral and cool. Shapes are casual and roomy, the silhouette narrowing with movement to reflect the line and motion of the body. Materials are airy, light, ranging from the classically luxurious to newer, technically advanced fabrics, all with an easy, open feel. For both women and men, subtle, expert tailoring lends unexpected intricacy to effortless clothes.
Born in 1979 in Los Angeles and self-taught, Alex Prager is a fast-rising star in the world of photography. She is known for sharp, boldly colored images inspired in part by the exaggerations of pulp fiction and the cinematic conventions of such movie directors as Alfred Hitchcock and David Lynch. Her point of view is playful, thoughtful, provocative, and unsentimental. Her work is in the collections of several prestigious museums, including the Whitney Museum of American Art in New York, and she participated in the recent Museum of Modern Art show, New Photography 2010. Her recent solo show, Week-end, opened in LA, NY, London, and Tokyo to critical acclaim. Pragers quirky, layered narratives and glamorous but subversive imagery led Bottega Veneta Creative Director Tomas Maier to seek her out for the Spring/Summer 2011 campaign. I thought that the juxtaposition of Alexs intense colors and surreal imagery with the cool palette and real-world focus of the collection would be interesting, says Maier. The collection is very much about real life and natural movement while Alexs hyper-real images are like an alternate universe. I love the energy of the contrast.
Alex Prager joins a long list of renowned artists who have contributed to the creation of Bottega Venetas advertising portfolio. Previous collaborations include Robert Longo (Fall 2010), Nan Goldin (Spring 2010), Steven Meisel (Fall 2009), Larry Sultan (Spring 2009), Todd Eberle (Cruise 2009), Nick Knight (Fall 2008), Sam Taylor-Wood (Spring 2008), Annie Leibovitz (Fall 2007), Tina Barney (Spring 2007), Lord Snowdon (Fall 2006), Stephen Shore (Spring 2006) and Philip-Lorca de Corcia (Fall 2005). Bottega Venetas Spring/Summer 2011 advertising campaign will debut in the February issues of select magazines globally.
BOTTEGA VENETA LAUNCHES SPRING/SUMMER 2011 ADVERTISING CAMPAIGN
Bottega Veneta is pleased to announce that photographer Alex Prager has shot the brands Spring/Summer 2011 advertising campaign. The campaign, which features both the womens and mens 2011 ready-to-wear collections, is the latest in Bottega Venetas series of one-of-a-kind creative collaborations featuring the talents of outstanding artists.
Spring/Summer 2011 is a season of ease, informality, and unobtrusive sophistication. The palette is neutral and cool. Shapes are casual and roomy, the silhouette narrowing with movement to reflect the line and motion of the body. Materials are airy, light, ranging from the classically luxurious to newer, technically advanced fabrics, all with an easy, open feel. For both women and men, subtle, expert tailoring lends unexpected intricacy to effortless clothes.
Born in 1979 in Los Angeles and self-taught, Alex Prager is a fast-rising star in the world of photography. She is known for sharp, boldly colored images inspired in part by the exaggerations of pulp fiction and the cinematic conventions of such movie directors as Alfred Hitchcock and David Lynch. Her point of view is playful, thoughtful, provocative, and unsentimental. Her work is in the collections of several prestigious museums, including the Whitney Museum of American Art in New York, and she participated in the recent Museum of Modern Art show, New Photography 2010. Her recent solo show, Week-end, opened in LA, NY, London, and Tokyo to critical acclaim. Pragers quirky, layered narratives and glamorous but subversive imagery led Bottega Veneta Creative Director Tomas Maier to seek her out for the Spring/Summer 2011 campaign. I thought that the juxtaposition of Alexs intense colors and surreal imagery with the cool palette and real-world focus of the collection would be interesting, says Maier. The collection is very much about real life and natural movement while Alexs hyper-real images are like an alternate universe. I love the energy of the contrast.
Alex Prager joins a long list of renowned artists who have contributed to the creation of Bottega Venetas advertising portfolio. Previous collaborations include Robert Longo (Fall 2010), Nan Goldin (Spring 2010), Steven Meisel (Fall 2009), Larry Sultan (Spring 2009), Todd Eberle (Cruise 2009), Nick Knight (Fall 2008), Sam Taylor-Wood (Spring 2008), Annie Leibovitz (Fall 2007), Tina Barney (Spring 2007), Lord Snowdon (Fall 2006), Stephen Shore (Spring 2006) and Philip-Lorca de Corcia (Fall 2005). Bottega Venetas Spring/Summer 2011 advertising campaign will debut in the February issues of select magazines globally.
