Understatement is Bottega Veneta’s fashion statement

TOKYO, Japan – Premier luxury brand Bottega Veneta’s look for fall/winter 2006 as presented at the Museum of Contemporary Art in Kiba, Tokyo was everything but loud. And yet, the message was crystal clear.

The statement? Understatement!

This fashion event was in line with the opening of the brand’s latest and biggest store in Japan at the plush Omotesando complex designed by renowned Japanese architect Tadao Ando. Bottega Veneta creative director Tomas Maier says, "I greatly admire the works of Tadao Ando. His use of natural elements and clear, functional design are similar in spirit to the design principles of Bottega Veneta."

What exactly are these design principles?

The brand’s credo says it best: "When your own initials are enough." Bottega Veneta is unapologetic in its devotion to simplicity. Extraordinary simplicity, that is. As basic and timeless as the apparel and accessories seem to be, all are made using the finest materials and superior craftsmanship. The results are ultra special works of art that need no huge branding to justify their price tags.

"The products of Bottega Veneta are not made for everyone," Maier was once reported to say. "They are creations that are only truly grasped by those who own them, by those who wear them." Well, with the phenomenal growth of Bottega Veneta in recent years, this marketing psychology is working like a charm.

Bottega Veneta finds its roots in Vicenza Italy. Founded in 1966, the brand earned its reputation for unsurpassed quality and utmost exclusivity one bag at a time. With the introduction of the renowned intrecciato woven leather and signature animal prints, Bottega Veneta catapulted its pieces onto the coveted stature.

As more took notice, so did the Gucci Group, which acquired Bottega Veneta in February 2001. German-born, Paris-trained Tomas Maier was appointed its creative director in June 2001. For nine years, Maier was the women’s designer for Hermes after training at the institutional Chambre Syndicale de la Haute Couture. Bottega Veneta accounts for a 5.3 percent share of the Gucci Group’s sales, with its own sales in 2005 charting a 60 percent jump from the year before.

Seeing Bottega Veneta’s latest collection, it’s easy to see why.

Upon entering the Museum of Contemporary Art, it is apparent that the gathering had been stripped of every possible pretense. There are no dazzling lights, overeager paparazzi, or overbearing logos. All one sees are partitions in Bottega Veneta’s signature Ebano brown. As guests were ushered to the main show area, Bottega Veneta absolutely left no room for distraction. "The clothes and accessories are the stars of the show," says a Bottega Veneta executive. And shining stars they were!

Every ensemble that sashays onto the runway is greeted with muted exuberance, a reaction typical of a true and pure Bottega Veneta client. The 57-exit show features a women’s collection that explores the theme of adornment, while the men’s collection tackles notions of tradition and authenticity.

The women’s collection begins with austere silhouettes lacking in embellishment. A rich shearling trench opens the show, paired with the enameled Karung bag and modestly sensual closed-toe high heels. Awe-inspiring jackets in rich nappa stone leather, streamlined jersey and sleek dresses dominate the first part of the show. Hues are somber with palettes in pepper, black-brown, gray, and salt.

After a series of luxurious structured pieces, Maier softens the fashion story and injects a very subtle touch of whimsy and femininity. Handpainted cardigans, paired with pleated kilts, walk the catwalk, immediately followed by architecturally lovely crepe satin dresses in lavender, yellow, salmon, and celadon. A series of low-back flannel evening dresses showcases demure sensuality, revealing the woman’s shoulders, neck, and parts of her sides.

Maier employs highly technical and pared-down cuts that look so simple yet are actually so much harder to create seamlessly. Using sturdy wools, washed flannels, stiff organzas, and liquid silks, the focus is on narrowing the waist and elongating the form.

Stunningly elusive the clothes are – more so the accessories, which Bottega Veneta is truly known for. The bags are truly exotic and show-stopping, especially the celadon tiger snake Soleil bag. Soft and slouchy, the double-handed bags are woven with antique brass. Materials appear aged, employing stuff like Madagascar crocodile, large-scale python, and square-scale anaconda leather.

Shoes and boots were similarly elaborate with lived-in-like leather and tiny chains. The thick heels allow for an elegant stance, while the skinny ultra-high with an outwards curve lends a fanciful touch to the look.

The fine jewelry pieces featured in the show – the first ever for Bottega Veneta – had glowing rock crystals, antique sterling silver, and gold plate. Woven 18-karat yellow and white gold chains were intricate, some set with tiny diamonds. Each of the bracelets and necklaces was finished with large closures shaped like the number 8.

Says Maier, "It’s extremely satisfying to finally launch this (fine jewelry) collection. I think we have created pieces that are unique and meticulously made. Luxurious in a very personal way."

For the Omotesando store opening, Bottega Veneta also launched five premium limited edition bags. A Bottega Veneta executive shares, "The handbags are extraordinary works of craftsmanship even by the standards of Bottega Veneta." The limited editions include the Baby bag, an elaborate embroidered bag inspired by La Fenice, a Venice famed opera; the Cabat in lychee talco leather; the Veneta with Fenice-style embroidery; the Palermo finished with tortoise embellishment, and the Bambina in gold python and marble snakeskin.

The men’s collection, on the other hand, reveals natural sophistication. The look is substantial and straightforward, with the jacket as the central piece of the collection. Tailored pieces dominate in sturdy cottons, weathered leather, rich moleskins, and woolens. Scottish tartans, Harrish tweeds, and foggy checks provide texture in the patterns.

Accessories are utilitarian but luxurious. Construction is the key word here, especially with the perforated loafers and pepper-colored antique velvet 24-hour bag handcrafted in thick crocodile leather. "Men’s wear is rooted in tradition," says Maier. "You think about the virtues that already exist, the value, and weight of the new and the modern, the meaning of ‘genuine’. With this collection, we wanted to define some of Bottega Veneta’s traditions – because these are what endure."

Excerpts from the interview with Tomas Maier:

Since taking over as creative director in 2001, what has been your greatest contribution in making Bottega Veneta the exquisite fine brand it is today?

TOMAS MAIER: Creating a new design philosophy. Bottega Veneta is about the highest quality, craftsmanship, design, and functionality.

What is your design philosophy?

I don’t ever want to be in fashion; so I am never out of fashion.

You have been quoted as saying Bottega Veneta is not for everyone. Who is the Bottega Veneta woman?

A Bottega Veneta woman has a true understanding of quality. She doesn’t need logos. She has her own personality and is very secure about her own sense of style. She is interested in quality, craftsmanship, and design.

In recent years, some luxury brands have become more commercialized. Bottega Veneta never seems to fall prey to this blatant commercialism. How do you preserve this image?

Everything we create has integrity and many are permanent items that never go on sale.

In the span of your five-year stint with Bottega Veneta, what have you learned about Asian women and their taste?

What I have found about Asian clients is that they have a true appreciation for refinement and artisan workmanship due to their culture.

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In the Philippines, Bottega Veneta is exclusively distributed by Stores Specialists, Inc., and is located at Greenbelt 4, Makati.