For a collection with so many modernist components, it was interesting that the knitwear in Tomas Maier’s Autumn/Winter 2014 effort for Bottega Veneta should be the freshest element in the show. With their luxurious ease and modern, flattering shapes, the sweaters had an instant desirability, which may not have represented a highly new expression, but served the ultimate purpose of clothes. It was a collection largely made up of little dresses in geometrical patterns, which most of all had sixties sensibility about them. There were clear hints to Op art in the mish-mashy stripes, which appeared on dresses in various shapes, sizes and formations throughout the show, and with the help a swinging soundtrack of Liza Minnelli’s Bye Bye Blackbird, it brought about a decidedly cinematic sixities and early seventies feeling, which sometimes suggested spy films (think the intros in James Bond). Often timelessly appealing, the era in question could have made for a vibrant narrative to match the instant modernity of the knitwear, but with their dainty shapes and muted prints and colours, the dresses didn’t have as much of the vivacious spirit as they deserved. Maier is a master at designing for his clientele, but as Liza would no doubt agree, it wouldn’t hurt to add a little pizzazz on the catwalk.
For a collection with so many modernist components, it was interesting that the knitwear in Tomas Maier’s Autumn/Winter 2014 effort for Bottega Veneta should be the freshest element in the show.