Seasonal Official Bottega Veneta Spring/Summer 2013 Thread - post pics and discuss here!

  1. :woot: Spring/ Summer 2013 has landed :woot:

    And it's getting brilliant reviews!


    Bottega Veneta Spring 2013 (September 22, 2012)

    All hail the dress! Tomas Maier lasered intense focus on the silhouette in his brilliant Bottega Veneta show today, cutting forties-style frocks with strong but not hard shoulders and slender, body-loving shapes. In a less accomplished designer's hands, a collection like this one—there were no pants and just one coat among the 33 looks—could prove repetitive, dull. Here each little number looked like a treasure you'd discover in the best vintage shop in the world, but without the dust. The retro stylings of so many Milanese brands this season are not for Maier. Yes, these dresses glanced back at the past, but the cuts were thoroughly modern and the embroideries state-of-the-art. You know a designer has a hit on his hands when more than one woman walks out uttering the same breathless line, "I want every single piece."

    It was the workmanship that made these dresses so special—they were very obviously labored over but never belabored. Take the day dress worn by Ruby Aldridge, collaged from two different flower prints, the bodice folded and pintucked and the seams, all of them, edged with glossy strips of snakeskin lined with matte bronze studs. It will cost a fortune, but it'll be worth every cent. Same goes for a party dress in a Givernylike floral with wispy, frayed-edge sleeves that was crisscrossed with diagonal lines of gleaming jet lozenges descending into dense clusters at the hem. "It's about making women feel confident," Maier said backstage. Confident—and beautiful. There wasn't a man or woman in the room who wasn't seduced. style.com


    All Pictures credit: vogue.it
     
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  2. vogue.it
     
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  3. vogue.it
     
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  4. vogue.it
     
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  5. vogue.it
     
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  6. vogue.it
     
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  7. vogue.it
     
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  8. vogue.it
     
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  9. Missing tan Knot from #35

    And backstage pics. vogue.it
     
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  10. vogue.it
     
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  11. BOTTEGA VENETA
    Thomas Maier always shows such beautiful and fab collections, somehow overcoming the dichotomy of making women look both strong and soft. Maybe it’s something to do with it being so ****ing expensive. :lol: And those buttery soft woven bags that you could move into and live a very happy life in. Bottega makes me want to be more… posh. I don’t know. Caramel highlights and tasteful manicure and a maid in a uniform who brings me coffee and cakes. A pretty tea dress to start the day. 10magazine

    Pictures t-magazine
     
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  12. Bottega Veneta RTW Spring 2013 wwd

    Sweet and tough. The tension between the two intrigues many designers, including Tomas Maier, who for spring offered his take on the theme with an impressive collection for Bottega Veneta.

    In his show notes, the designer said he aimed for “clothes that blur the lines, that offer a more complex idea.”
    He accomplished this, often with considerable dare, by working hard studs and glossy snakeskin inserts into feminine silhouettes. There were also whimsical spaghetti-string dresses in earthy rather than girly colors.
    Maier opened with several terrific floral-patterned dresses in Thirties silhouettes. Executed in reds, soft pinks and blues, they had a nostalgic charm; those with butterfly belts were particularly lovely.

    A group of sportier white looks read a little trickier, particularly the boxy embellished and embroidered poplin shirts with oversize sleeves paired with pencil skirts. While these felt heavy-handed, Maier countered that notion with his gorgeous final exits worked in an abstract flower motif that almost looked like scribbles; one silk version was bedecked in weighty black beading.

    Bottega Veneta is still mainly a luxury leather goods house and Maier offered plenty of fabulous reminders: Some of the new Intrecciato bags were fringed and appeared shredded for a cool, unfinished feel, while others were adorned with butterfly appliqués. They were at once soft and hard — driving his point home perfectly.
     
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  13. Review by Hamish Bowles vogue.com

    After an unexceptional start to the Milan season that has seen runways awash with photocopied visions of the Swinging Sixties and the seventies—not to mention a plethora of none-too-subtle homages to many of the recent collections or archives of international design innovators—it was a relief to find some thoughtful, adult clothes on the Bottega Veneta runway.

    Tomas Maier goes his own quiet way, making clothes, as he said in his program notes, “for women who’d rather not be summed up in a word or two”—designs that showcase the exceptional workmanship of his ateliers.

    His show focused on tidy little feminine frocks (not a long gown among them). It opened with pretty flower-print dresses in an unusual palette of soft caramel, gray, vanilla, and dusty blue with charcoal, with a strong late-thirties and forties flavor that gave his girls the look of Agatha Christie heroines. But if Maier started with a historic reference, he injected his own innovations, splicing together panels of several different prints or cutting out individual flower heads and appliquéing them to form daisy chains running down the front of a dress. Panels of snakeskin were set into the kick pleats in the front of a skirt or slithering down a blossoming back.

    A brace of liquid jersey dresses had virtual necklace garlands padded into the necklines, others had strips of shiny snake edging, fluted hems, and butterfly sleeves (like the signature dresses of the great British classicist designer, Jean Muir).

    The house’s craftsmanship was also evidenced by short evening dresses with a Madame Grès flavor—but instead of that legendary couturier’s famous jersey pleats, these achieved a similar visual effect with myriad softly color-shaded rouleaux strips—a refinement of a technique that some haute couture houses struggle to achieve (and doubtless at commensurately giddy price points).

    More modern were the armorial crustings of silver lozenges on the plastrons of pale cotton dresses or shirt-like tunics. The transparency and perforated effects that are everywhere this season were subtly translated for customers who may not feel comfortable revealing great swathes of flesh. A point d’esprit cardigan jacket shadowed the horizontal ribbon strips of the unfinished peach-colored chiffon of the dress beneath, for instance, or a trellis of jet beads, evaporating towards the hem, was embroidered over a flowery chiffon frock.

    The house’s signature butterflies alighted in clusters on buckles of belts that defined trim waists, on the toes of the thick-heeled platform shoes, and on the flat satchel purses worn, in the fashion of the season, pinioned by a firm elbow to the side of the waist—symbols, perhaps, of a certain lightness of touch and of an undeniable prettiness.
     
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  14. I've moved Jula's pics here!
     
  15. On the Runway - Dame Patrol in Milan by CATHY HORYN nytimes

    Tanked with caffeine from the espresso bar that Bottega Veneta sets up before its morning shows, I regarded the opening dress — a silk floral print with shoulder pads and a thin belt — and wondered if the designer, Tomas Maier, had been reading James M. Cain over the summer. The jazzy music kept this thought going through several tough little day dresses with a 1940s slant. The impression gradually dissolved as Mr. Maier shifted to almost naïve-looking blouses and skirts in white poplin, and then a sporty tank dress in black jersey spliced with black snakeskin.

    Still, a soundtrack with film dialogue cut into the show music put the Bottega collection up against an urban backdrop. Those defined shoulders and rather big, almost cartoonish platform pumps said a lot, as did the neatness of the silhouette. Sleeves were short, waists were trim and hemlines were just below the knee. The models wore stockings, as I later learned from the press notes. Mr. Maier’s use of murky colors and graphic embroidery was in line with his previous Bottega collections, but the striking detail was a persistent hint of toughness — in spite of the feminine florals, soft knits and silvery fringe that spilled from the waists of cocktail dresses.



    It's all about a dress to cherish at Bottega Veneta elle

    It was energising to see something new in Milan: no sportswear, no 1960s, no primary colours, no loud prints.This is the art of Tomas Maier’s Bottega Veneta – whatever is going on in the rest of the fashion universe, he always treads his own sure-footed path with a gentle, forever quality, that still manages to get the pulse racing, half way through the show season, at 9.30am. He said it was an evolution from last season’s silhouettes, working on a more angular shoulder for jackets, but over all he wanted it to be more feminine, fresh and young. ‘And confident, too. I really want women to feel confident in our clothes,’ he said. The message was dresses. Floral tea dresses – a padded shoulder with a short sleeve, narrow waist and just-below-knee hem, in silk or crepe, each carrying an individual flower print, in dusky shades of peach, burgundy, yellow and vintage-lingerie pink. These and the shoes – high, with a hefty heel and square toe – had a 1940s feel to them. Meanwhile, Martin Scorsese’s cult 1970s film, Taxi Driver, could be heard on the sound system – so was this the 1930s as seen through the 1970s, the big era of Bottega’s heritage? He refused to be pinned down to any era backstage – and rightly so, Maier isn’t about to be pigeonholed by anything as obvious as a retro decade for inspiration. ‘It’s easy for a woman to dress in a way that sends a simple message: serious or sexy or bohemian or whatever,’ said Maier, ‘It’s much harder to come across in a multifaceted way…These are clothes for women who’d rather not be summed up in a word or two.’What Maier does is to infuse all that he makes with such a profusion of subtle prints and rich and complex hand-crafted textures that they not only become undefinable, they are even more cherished on close inspection.
     
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