Louise Trotter’s debut as creative director of Bottega Veneta carried the aura of a ceremony solemn yet intimate, centered on what lies at the heart of the house: craftsmanship. It was no coincidence that Intrecciato, the iconic woven leather technique celebrating its 50th anniversary this year, took center stage. Around this motif, Trotter built the narrative of her first collection.
The designer did not attempt a radical break from the aesthetic of her predecessor, Matthieu Blazy, who will take over at Chanel this October. Instead, she found her own voice raw, sensual, and meticulous infusing the house’s DNA with both her perspective and a fresh interpretation of Milanese elegance.
After relocating with her family to Milan last summer, Trotter allowed the rhythm of the city, the colors of Venice, and the glassmaking traditions of Murano to seep into her vision. “What’s so beautiful about Bottega Veneta is that it operates like a true atelier,” she said before the show. “Innovation comes from the hands of artisans, in the process of finding solutions together.”
A monumental cape became the collection’s most striking symbol of this philosophy crafted from thousands of three-millimeter leather strips, requiring 4,000 hours of handwork. In its obsessive precision lay both reverence for tradition and a drive to push its limits.
Equally remarkable were pieces made from recycled fiberglass, transformed into dreamy, almost luminous textures. The result was sculptural, fluffy silhouettes, reminiscent of butterflies with trembling wings at once airy and full of tension. Trotter described her vision as “my version of dolce vita”: more disciplined, structured, yet still deeply sensual.
The show unfolded within an architectural space divided by arches, minimalist yet adorned with woven installations suspended in the air. Guests sat on colorful glass stools, a discreet nod to Venetian craft.
The collection itself was conceived as a story about the house, its history, and the women who helped define it. Lauren Hutton, style icon and longtime muse of Bottega Veneta, took to the runway, recalling her legendary turn in American Gigolo with the brand’s leather clutch. Trotter reimagined the bag and invited Hutton to present it again this time, opening it to reveal its contents to the audience.
Press notes also highlighted Laura Braggion, the first woman to lead Bottega Veneta in the 1980s. Her bold designs and ties to New York’s art scene became a reference point for Trotter, particularly in the colorful, extravagant fiberglass creations that would have felt right at home at Studio 54.
Alongside such innovations came staples of Milanese refinement: crisp white shirts, impeccably tailored coats, and wide leg trousers. Some looks carried a heaviness unusual for spring, yet the weight was offset by an evident fascination with artisanal workmanship and the structural richness of fabrics.
Trotter also revisited Bottega Veneta’s handbag heritage from the oversized Lauren model to a reimagined Cabat from the Tomas Maier era, as well as new zippered clutches.
Though Louise Trotter’s career has spanned Joseph, Lacoste, and Carven, as well as design roles at Calvin Klein and Tommy Hilfiger, her vision for Bottega Veneta feels especially resonant. It’s a marriage of technical precision with quiet sensuality, raw functionality with artistic flair.
If her debut demonstrated mastery in reinterpreting Intrecciato, the next chapters may bring even bolder experiments in form and play from fiberglass outerwear to molded clogs and mirror ball inspired coats.
For now, one thing is clear: under Trotter’s direction, Bottega Veneta is celebrating its artisanal roots while charting new territory. This was more than a fashion show it was a masterclass in storytelling through materials.
Photos courtesy of Bottega Veneta
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