The brand's newest Creative Director Mathieu Blazy, who follows the steps of Daniel Lee, has delivered a collection centred around movement and fluidity, of their models, of their clothing, and of their accessories. The power suggest in the Fall/Winter 2022 collection seems not to be at the forefront of their image, but tucked away in the inspection of those who choose to wear it.
Bottega Veneta asks you to examine the models on their runway, dressed in jeans and everyday attire, baggy suits, and large statement fur pieces, and see some beauty in the ordinary. In a creation where they say that “extravagance meets utility,” it asks you to imagine who these people are, where they are going, and what they have done, clutching their pillow bags or slouching in layers of a suit.
The emphasis on movement in this collection surpasses time and gender. The unusual bending silhouettes of the oversized suits modelled on the runway seem almost alien from a side-profile, or fluid, moving with the wearer, and taking inspiration from Umberto Boccioni’s 1913 sculpture Unique Forms of Continuity in Space, which breaks down the human body into shapes and feelings. Bags and thigh-high boots are made in their iconic intreccio style, without stitching, as one continuous fluid piece.
The bags have a different emphasis on movement, as they move with the wearer as a static accessory, a leather continuation of an arm, or sprouting out of a back. They are as much a part of the person as their clothes and carry a great sense of purpose with them as something with a functional use.
Flares of individuality on this blank canvass of expression can be seen throughout the show, in nubuck leather embossed to appear hyper-realistically as jeans or dress shirts, bold colourations of leather, colour-flecked herringbones, and usually patterned knitwear. How they are worn, and how they are moved in, however, is completely up to the wearer.
The emphasis on movement in this collection surpasses time and gender. The unusual bending silhouettes of the oversized suits modelled on the runway seem almost alien from a side-profile, or fluid, moving with the wearer, and taking inspiration from Umberto Boccioni’s 1913 sculpture Unique Forms of Continuity in Space, which breaks down the human body into shapes and feelings. Bags and thigh-high boots are made in their iconic intreccio style, without stitching, as one continuous fluid piece.
The bags have a different emphasis on movement, as they move with the wearer as a static accessory, a leather continuation of an arm, or sprouting out of a back. They are as much a part of the person as their clothes and carry a great sense of purpose with them as something with a functional use.
Flares of individuality on this blank canvass of expression can be seen throughout the show, in nubuck leather embossed to appear hyper-realistically as jeans or dress shirts, bold colourations of leather, colour-flecked herringbones, and usually patterned knitwear. How they are worn, and how they are moved in, however, is completely up to the wearer.
