MODELOS: Tomas Maier

jueves, 21 de mayo de 2015

BOTTEGA VENETA RESORT 2016

BOTTEGA VENETA

RESORT 2016

There are a lot of ways to look at clothes. This season, Tomas Maier kept adjusting his point of view, like a movie director shifting camera angles.

He started with a panorama—imagining the landscape circa mid-November, when most of this collection will be delivered to stores—and proposing bright colors as a balm for overcast, darkening days. Then he zoomed in for extreme close-ups, fastening his attention on details such as a daggered jacket collar, or the dot pattern on a patchwork-pleated skirt created via appliqué.

Finally, he panned out again, to get the full-length take on the clothes he himself considers most important: As Maier explained at an appointment today, he can only confirm his impression of clothes by seeing them on a model in a mirror, the better to catch the overall effect his looks make.

That's the perspective that allows Maier to make the myriad adjustments to proportion and line and flow that give his Bottega Veneta clothes their sense of effortless specialness.

Witness, for instance, the patchwork-pleated skirts and dresses here, with their shards of black fabric that served to visually winnow the waist. Elsewhere, Maier played a similar trick with his high-waist trousers of lightweight wool gabardine, color-blocking them above the hip to give a slouchy attitude.

The trousers were one silhouette in this collection's fine range of tailoring, a theme that Maier emphasized; there were also sportier takes on masculine garb, such as trim leather bombers and track jackets pieced together from multicolor swatches of suede or the high-end activewear fabric also used in blouses and abbreviated A-line skirts.

Maier's graphic use of color was the obvious through-line, among these very varied looks. Closer inspection, meanwhile, revealed that the real continuity of this collection was to be found in the make of the clothes, with luxe transitional-weight fabrics and unlined coat construction endowing everything with a sense of movement and ease.

Those tactile elements can't be seen in a mirror. Yet somehow, they can still be seen.

TEXTO DE MAYA SINGER

FOTOS DE STYLE.COM

lunes, 23 de agosto de 2010

BOTTEGA VENETA SPRING 2011 MENSWEAR

XOAN FERNANDEZ

Ry Cooder's music for Paris, Texas is practically the loneliest sound in the world. That made it an appropriate intro for Tomas Maier's new collection, in which he imagined a man on a road trip to rediscover a country he'd spent too much time flying over.

The scenario offered the designer a golden opportunity to develop his signature blend of the hyper-casual and the super-formal, and he made the most of it.

Since Maier's hero would be living out of his car trunk, his shirts were wrinkled and his suits crumpled. And because he would be crossing long stretches of desert, materials for even the outerwear (a nylon parka, a cotton trench) were featherweight.

The sand-toned suits that opened the show were cut from bleached classic fabrics patchworked like camouflage or topographic maps, but they were the most urban pieces on display. The utilitarian pieces that followed, in white cotton and washed suedes and leathers, suggested the wardrobe of an explorer. Maier emphasized athleticism with micro-perforated fabrics, sometimes in gussetlike insets used to articulate seams.

But things really came into their own with a series of monochrome outfits in maroon, petrol blue, and olive green, especially a coat, pants, top, and intrecciato tote, all in the same military shade. Maier found his models all over the place, from L.A. to B.A. (as in Buenos Aires), and their sensual polymorphousness perfectly suited the road-trip theme—a valuable reminder of how much casting can add to a show.