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Bottega Veneta with “ Low – key luxury ” identity has created the intellectual mature women, they understand their own strengths, declaring the elegance and charm from the inside out, forsake everything pompous cumbersome.

The show opened with dark shades androgyny designs, wide leg pants and double-breasted coat are very fascinating, and there are a lot of men’s design profile as well. Fashion lines slowly turned into a retro leather coat with a high collar and tied waist, and then entered into the main line – slim, slender, with great pace, definitely is a show that has a close interaction with people.

Slim cut allowed one of a plaid suit presented in incredible slender appearance; most of the dresses are knee length dresses, perhaps soft knit, sheer tulle, bodice design or pleated design, and occasionally irregular beads as embellishment.

Knitted fabrics that tightly fitting skin almost see-through, with a soft lovely corset, I do not know such elegant knee-length dresses can reveal a sense of sexiness.



Alternating relaxed lines with hourglass silhouettes, Maier’s top-notch artisanal skills got probably combined with his childhood memories, in which his parents’ architectural abilities surely had something to do with the development of his artistic background.

The collection’s main prints are geometric and repetitive, as they start from plain simple tartan motifs and evolve into big, intricate and sequential squared patterns. Such patterns enhance the lineup’s overall elegance even more, confirming once again that Tomas Maier’s purpose is focusing on creating one-of-a-kind staples that may satisfactorily represent the label’s legacy, rather than design plain pieces with the aim of just quickly going sold – out.

Given the fact that the fashion industry is under turmoil at the moment due to its decreasing sales and frenetic schedules, and more and more designers and insiders are wondering what fashion will be all about in the next few years, Maier’s steadfastness to prove that quality is indeed better than quantity is a hopeful sign towards the new generations of both customers and designers.

Accentuating the legs and the waists, the Bottega Veneta fall 2016 ready-to-wear collection’s lines are dizzily vertical, like those of the epoch of English Gothic architectural style.

The gothic cathedrals’ so-called:

” Perpendicular Gothic Style”
(Circa 1350-1520)

Which led many architects to focus on vertical panels and vertically enlarged windows adorned with stone mullions, is to be found in most of Maier’s designs too, as proven by their many golden colored accents as well.

Gothic is also the collection’s color palette, with dark hues getting interrupted only by off touches of yellow, vivid red and green.
While the very first part of the collection almost solely focuses on blacks and grays, the middle part explores more romantic looks, in case of which ombre patterns and blurred vertical stripes will make anyone long for at least one of these looks.

Covetable are most of the collection’s latest pieces, which combine the Gothic theme both with the Eighties (of course, in a more punk-rock style) and the Nineties, creating some delicate a line dresses, velvet suits and light pleated skirts.

Those who can’t wait to try the ” Inside – out” trend will be very enthusiastic to embrace it during the upcoming cold season thanks to this particular collection. As for the collection’s trending pieces, the jackets, overalls and double – breasted long coats in wool definitely can be next season’s greatest investments, and no less interesting is the accessory line.  

Maier has experimented during his time at Bottega! 

I remember especially the featherlight, vividly coloured nylon dresses that actually appeared on the red carpet.

It was a surprise, even a shock – yet in fashion, change is good.

One who is dressed spiffily in a tweed coat, swaddled in knits, stepping out in trousers, or swaying sensually on high heels with bars of three thin straps.

After a spell of sporty clothes at Bottega Veneta, designer Tomas Maier took a different route: a celebration of womanhood. It was neither “out there” nor timid, but just right. 

“I wanted it to be sensual.”

Said Tomas, who opened the show with plain, mannish trouser suits and ended it with brassieres built into soft dresses.

From masculine to feminine, with the pendulum of the show falling straight and true with its leopard-patterned calfskin coat or gilded lamb trench.

The concept was to soften firm lines, mostly by using variations of wool, until what might have been solid clothes melted over the body – never with obvious sexuality, but with a certain tenderness.

Then there were the colours: plain and creamy; then brick followed by wine and violet. There were also patterns that even shocked – as in a burning orange skirt named “Vesuvius”, after the fiery volcano.

Tomas repeated the world “sensual” three times backstage, almost as if he had surprised himself with the gentleness in his collection.

He also talked about knitting, explaining how it was working with wool that had made the collection look, and no doubt feel, different.
Various pieces in the collection seem to have been deliberately re- thought, like the subtle shrinking of Bottega’s much – loved handbags, which had decreased in size.

Tomas Maier has been at Bottega since 2001, during which time he has built it up as far more than a brand of artisanal woven handbags. But I wondered if in this show he was reminding us of his nine previous years at Hermès.  

There was something of that spirit in this collection: the finest materials, the subtlety, the elegant discretion.

Bottega Veneta a volcanic eruption of calm – Oh, the nobility of being a woman!


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Beata Gliniecka ; Fashion is the love of my life. That's what I'm writing and creating do with passion!

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