When the show started, what you felt immediately was the impression of luxury — the good way of luxury. What could be an Italian Hermés in a way. There was a lot, a lot of leather. The first outfit was, I would not say commercial, but for the clients: wearable, simple, beautiful. But quite clientele. Then, slowly and steadily, it became more and more creative. It was really brilliant, and I think she succeeded very much.
It is a bit more feminine. There were amazing colours. Each look has a bag. What is a good thing I think is that the girls and the boys both looked very luxury and good in their outfits: the boy was not like a handbag, you know what I mean? And what was fun, and you always need something strange at Bottega, were the shoes: there were a lot of clogs, mostly in white, and this gave the bad taste but made it more interesting. It was a very good show.
Edward Buchanan, former design director Bottega Veneta (1996 to 2000)
This collection was so sensual and so full of curious textures. My head was spinning back and forth trying to catch all of the intricate details flying past. A woman designer’s perspective really hits different. There was a nice, somehow-continuation of Bottega Veneta’s past, but Louise’s stamp was also omnipresent and tangible.
Nicole Chapoteau, fashion director at Vanity Fair
Louise feels like the perfect fit to develop from what Matthieu built. I saw chic tailoring, playful textures and colours with joyful movement. Louise has bridged her sense of colour and tailored silhouettes with the artistic world that the Bottega client lives in.
Bosse Myhr, director of womenswear and menswear at Selfridges
Louise Trotter’s debut at Bottega Veneta was a confident and elegant collection overall. The ready-to-wear was especially strong, balancing chic sophistication with standout fashion pieces that felt soft yet powerful, and highly desirable. Some of the pieces carried beautiful movement, adding a sense of fluidity. Craftsmanship came through in every detail, underscored by a refined feminine sensibility. The bags were another highlight. Altogether, a really strong beginning that sets the tone for an exciting new chapter at the house.
Laura Ingham, deputy director of Vogue global fashion network
It felt like the strongest debut of Milan Fashion Week. Louise presented her new vision of Bottega and it was a really great fresh start. We were expecting to see the head-to-toe intrecciato, which was beautiful. Then, there were the liquid silver clogs, which felt very modern. The really precise tailoring, the styling touches, and then the unreal fabrications of the tinsel skirts and tops. The pieces came to life on the runway. They became an organic kind of matter, like a jellyfish. It was all so chic. I can’t wait to buy into it.
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