On Kate Moss, Bottega Veneta shows that what is wearable can be far from mundane, but others pulled off the proposition better than she did
She does not open the show, but she is there. Appearing the sixth of a 72 line-up, she saunters out as if she just stepped out of a ranch home. Kate Moss looks ready to work in the fields, if not to actually round up the sheep or milk some cows, definitely to put away bales of hay. Or, get into a truck to go to town to get some flour for an apple pie she would bake later in the afternoon. This is definitely not the Kate Moss we’re familiar with, not the heroin-chic chick, not the vintage junkie, not the festival style maven, not the TopShop collaborator, not a skincare businesswoman, not a rock star’s former girlfriend, not Johnny Depp’s ex in court. She wears a shirt-jacket in shadow check over what could be a tank top and faded jeans, unbelted. Only her leather shoes—not quite heeled—give her away: She isn’t going to do field or barn work. Strangely, Kate Moss on the painted Bottega Veneta runway does not look an urbanite as the other models do.
There is visual trickery involved here. What Ms Moss wears may look like flannel and denim, but they are, in fact, made of leather. Matthieu Blazy, in his second outing for the house, is reprising what he did in his debut: make leather not look like leather. It is a complicated process. Ms Moss’s top requires prints layered 12 times to achieve the chromatic depth of the woven equivalent. Mr Blazy calls this “perverse banality”, but it sounds like something Demna Gvasalia would do for Balenciaga couture. Other seemingly Normcore-looking pieces that might not be out of the ordinary at Uniqlo are given this leather-looking-like-ordinary-fabric treatment. Which means that if one does not examine the finished pieces up-close or in one’s hand, one may not know that the T-shirt is not made of cotton jersey and the jeans not cotton denim. The commonplace is not at all. Thankfully, Kate Moss did not need to do a Naomi Campbell.
The press describes what Mr Blazy does as “wardrobing”, creating practical clothes that have real use and place in a wardrobe. It is not a plan totally new to Bottega Veneta. Even as far back as the tenure of Thomas Maier, BV’s first superstar creative director, the clothes have been easy to wear. Its quiet luxury led Vogue to describe BV fans as projecting “stealth wealth”. The brand’s ready-to-wear line is, in fact, relatively young; its debut appeared only in 1998 (some 30-odd years after parent company Gucci introduced their first pieces of clothing). It was designed by Laura Braggion, the ex-wife of the co-founder of the house Michel Taddei, who, together with Renzo Zengyaro, developed the unmistakable intrecciato weave used in the bags, wallets, even shoes. Bottega Veneta has never alienated their customers with designs considered too radical for a functioning wardrobe.
Mr Blazy has not kept that approach in his blind side. This season the tailoring is elegant, with none of the exaggeration of silhouette that still plagues many other brands; the dresses understated but just so, with some in prints that are graphic as they are offbeat; the leather wear supple and slick, with barely a hint of anything rock or ruffian. There is nothing too forward or too retro about the styling, even the fichu neckline—absent in fashion for so long—is a neoteric, tad folksy flourish, so are the scarfs floating in the rear, their single tip secured to baubled necklaces. Those slim, sheer, layered dresses with padded appliqués and decorative trims are evocative of Prada, but perhaps that’s a certain Milanese sensibility shared by those who design with a certain élan, just as some brands are unshakably partial to flesh and flash. Matthieu Blazy’s follow-up to his debut is a well thought-out and deftly edited collection. And, best of all, beautiful too.
Screen shot: bottegaveneta.com. Photos: gorunway.com
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