”Meier is one of those deft hands that could probably make a bin bag look ultra chic and desirable. But let’s be honest, it’s not like Meier went Moschino on us this season. Nevertheless, it was all a breath of fresh air for the luxury house.”
If the first look sets the tone for a catwalk show, Tomas Meier at Bottega Veneta certainly started with a loud bang. Edie Campbell opened the show again with a graphic black and white lurex dot jumper and matching slouchy trousers. The sweetness and light of last season was summarily replaced by boldness and structure. What followed was a cacophony of bright colours, more head-to-toe op-art dots and an oversized lattice print on mannish trousers, a giant cape and shift dresses, sometimes layered over trousers.
Things quieted down slightly by the end – the series of beautiful cocktail dresses and trouser suits in more sombre colours, no doubt soothed those fans who were expecting the usual subtlety and sophistication of Bottega Veneta. This is not to say the more daring pieces were garish in any way. Meier is one of those deft hands that could probably make a bin bag look ultra chic and desirable. But let’s be honest, it’s not like Meier went Moschino on us this season. Nevertheless, it was all a breath of fresh air for the luxury house.
A related note: While some things will always stay the same – for the greater good (Prada) and the downright bad (Versace, sorry) – there has been a whiff of change in the air at Milan Fashion Week. Sure, changes in personnel can obviously make a difference (Gucci to stunning effect and soon Pucci), but there are younger labels popping up with exciting new design talent (Arthur Arbesser and Ports 1961) and overall, there is more adventurous vibe to ever-traditional Milan. Which brings me back to Bottega Veneta. When working with such craftsmanship and outrageously luxurious fabrics, all you need is a fearless spirit to really bring it to life.