MILAN — For years, the fashion world whispered about a young designer named Matthieu Blazy, alumnus of Raf Simons, Martin Margiela, Celine (under Phoebe Philo) and Calvin Klein (with Mr. Simons). He was, in fact, the most hyped public secret in the industry that no one outside had ever heard of. Every time a big job came up, his name was called, but he stayed behind the scenes.
At least until November, when news broke that Daniel Lee, the British designer who had revived Bottega Veneta, was leaving after less than four years – and would be replaced by Mr Blazy, who had been his second-in-command.
That wasn’t just stepping into the spotlight, it was jumping into the red-hot center.
After all, Mr. Lee had transformed the legendary, somewhat staid, Italian brand into a harbinger of cool. He had everyone obsessed with a very specific zingy, pop art shade of green. He had won all kinds of awards. And he had left under very obscure circumstances, leaving behind a mist of speculation – not to mention Covid and geopolitics.
Still, after his first show, Mr. Blazy said Friday backstage, “I thought it was time.”
So what did he do? He shook off expectations and brought Bottega Veneta home. In more ways than one.
After a trio of widespread shows from the pandemic period of Mr. Lee in London, Berlin and, most unexpectedly, Detroit, chose Mr. Blazy agrees to return to Milan, where the company is based, to unveil his line. And not just Milan, but a dilapidated theater that will become another Bottega headquarters in the city.
Guests sat on gleaming scrap metal amalgamations straight from the recycling breaker, with black leather cushions on top that later appeared on the catwalk like huge clutches. They were also a harbinger of things to come, for those who thought of them and were not distracted by the presence of Jacob Elordi of “Euphoria” in the front row. Mr. Blazy went back to first principles, to rebuild.
He started not just with Bottega’s signature intrecciato, the leather weave that made the name of the house, in the form of over-the-knee boots, bags, skirts and loafers, but with a white tank top and jeans. The fact that they happen to be made of leather that looks like denim, and therefore not so basic at all, set the tone.
There was something for everyone. It all looked very civil and polite until you looked again.
And saw, for example, the perfect navy blue pea coat, but with a pocket-like back, cut to bend back. A sleeveless navy blue V-neck sheath, the straps are padded and rolled up just enough to lift like a shrug. An oversized boyfriend shirt, crafted from white leather so supple it resembles cotton, and worn with thigh-high black boots. Fuller midcentury skirts in butter yellow and lavender blue, filled not by a crinoline, but by an acre fringe.
There was a lot of leather, often mixed with grandparent sweaters patched together. A pair of elegant crombie coats. And in the evenings, lace briefs overlaid with nude sequins for slither and shine — and, in the final look, trompe l’oeil sequined breasts complete with nipples, which suggested there might be a little more fun in store.
(Maybe literally in the store? Who knows.)
In other words, they weren’t garments that would revolutionize brand image or make us suddenly sit up and feel an urgent need for new pants to express who we are. They weren’t pieces that matched the current streetwear moment (no sneaker on display). They were in many ways a return to the classic Bottega. They didn’t push too hard or try too hard. She suggestedwith a wink and a nudge.
The look was old money with new ideas.
Subtlety has gone out of fashion in recent years. Really not a bad time to bring it back. There is always a brand that insists on becoming the Hermès of Italy. This show made it seem like a winner might have arrived.