Remember the iconic “It bag”? That must-have accessory that once defined a fashion era, instantly signaling belonging and trend-savvy style, driving widespread desire for a particular tote, shoulder bag, or clutch. During those days, attending a Milan fashion show often felt like an exclusive “It bag” gathering. Designers would lavish editors with what they hoped would be the season’s breakout accessory, and soon, a sea of identical bags would famously grace the front rows.
However, this era largely faded with the rise of social media, giving way to fleeting micro-trends and a fragmented fashion landscape.
A visual pairing of images showcases Louise Trotter’s debut collection, highlighting how Bottega Veneta’s signature intrecciato woven leather technique subtly appeared in small details, from trench coat epaulettes and tuxedo lapels to the inevitable handbags.
Yet, at Bottega Veneta’s latest Milan show, new creative director Louise Trotter hinted at a revival of the “bag bonanza,” albeit with a refined, deconstructed approach.
This was evident even before the show, with invitations crafted from a single piece of lattice-scored leather, designed to fold into a stylish string bag – a clever accessory many guests immediately adopted for their belongings. Trotter further celebrated Bottega Veneta’s iconic intrecciato (woven leather) technique, a hallmark since its 1966 founding by Michele Taddei and Renzo Zengiaro. With legendary actress Lauren Hutton, sporting a vintage woven Bottega bag from “American Gigolo,” present as a de facto mascot, Trotter showcased intrecciato as the core of her entire collection, emphasizing deep-rooted craftsmanship.
A video offers a glimpse into the collection, showcasing the movement and texture of the pieces.
The collection was an “intrecciatopalooza,” featuring woven leather on everything from trench coats and patent leather tunics to tuxedo lapels, overcoat belts, epaulets, collars, and even shoe uppers. Bags, ranging from sizable duffels to delicate evening croissants, also prominently showcased the technique in various scales.
At times, this extensive use felt slightly overdone.
The pervasive intrecciato risked overshadowing the collection’s strong suiting, making even non-woven leather and suede pieces evoke handbags. The oversized, extended shoulder lines of jackets and coats, drawing inspiration from the 2002 Cabat tote, felt excessive, despite a broader trend towards voluminous tailoring. However, chic corset tops revealing a single shoulder, paired with high-waist barrel pants, offered a refreshing contrast.
A gallery of images illustrates Trotter’s diverse weaving experiments, incorporating unexpected materials like feathers, delicate chiffon, recycled fiberglass, and rustic fisherman’s knit. The collection truly shone when Trotter innovatively reimagined the intrecciato technique with unconventional materials. She masterfully wove cotton fisherman’s knit, delicate chiffon strips, upcycled feathers, and even recycled fiberglass needles. Notably, the fiberglass, subtly combined with leather, emerged from its woven base as shimmering, otherworldly masses in steel gray, sienna, and gold, crafting sweaters and skirts that appeared to move with an invisible touch.
These unique pieces were both intriguing and protective, compellingly tactile, and offered a refreshing counterpoint to the more traditional leather, alongside potential “It shoe” contenders: pointy-toe cowboy clogs.
Ultimately, the show was a powerful statement: in an AI-driven world, the fusion of exquisite handwork, rich heritage, and whimsical human creativity truly represents the pinnacle of luxury – a vision well worth embracing for the future.