Master of Arts Fashion Marketing and Communications 2018/2019 Polimoda Sophia Beermann | Pengyue Lai | Weini Chen
When Your Own Initials Are Enough. Polimoda Fashion Marketing and Communications 2018/2019
Sophia Beermann | Pengyue Lai | Weini Chen
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The Turning Point of Bottega Veneta
Bottega Veneta is an Italian luxury goods brand founded in 1966. Famous for the superior craftsmanship of leather goods and the unique intrecciato woven techniques, Bottega Veneta joined the Kering family in 2001, with a new Creative Director Tomas Maier, who, during his 17 years career at Bottega, broadened the product line, set the logo-less heritage as brand culture, and brought Bottega Veneta to a new level as a high fashion lifestyle brand. The classic, low-key and high-quality philosophy helped Bottega Veneta gained an extraordinary amount of loyal customers, who are not only fashion insiders, but also business people who value an elegant and dignified lifestyle. However, during the past couple years, with more and more millennial buyers entering the market, the demography of consumers has been changed. Staying with the old strategies caused great drops in sales. In 2018, after Tomas Maier left, Kering Company nominated the 32-year-old Saint-Martins graduate, Daniel Lee, as the new Creative Director for Bottega Veneta. How to bring this once glamorous brand back to the new customers’ sight? How to make the signature craftsmanship and the elegant brand lifestyle popular again? How to attract the younger market while keeping the heritage and old customers? These are not only Daniel Lee’s challenges, but also ours. We would like to take Bottega Veneta at this turning point, help it gains back its glory and, of course, generate sales.
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Our big idea is to build a more modern, strong, clear but still chic brand identity for Bottega Veneta. While keeping its excellent Italian heritage, fine quality and timeless design, we would like to re-communicate the brand to make it into a distinct and memorable lifestyle for all generations. We created a new brand concept -- Reflection, as mirror is a significant symbol of modern people’s life. In the modern urban society and business world, people neglect themselves, their own feelings and emotional needs, to fit into a social frame and please others. Therefore, we use mirrors and reflecting surfaces to remind people to look more into their own images. To be confident, independent, and focus on themselves. With this concept and our communications strategies, we will convey the new concept of Bottega Veneta which our target customers can identify themselves with. We want to increase the brand name recognition, and place it back to where it belongs: a remarkable competitor next to the luxury segment of Louis Vuitton and Hermes. By taking over the place of the target group which has been put off by Celine last year, we will focus on filling the gap in corporation with Daniel Lee. We will implement a multi-generation strategy. We will create campaigns that adapt a more modern and trendy aesthetics, using color contrast and lighting art, and new styling methods to convey the core values of Bottega Veneta, such as independent and self-confident, to the younger customers in a more attractive way. Meanwhile, we also do not want our older customers to feel leftout. For the most classic items, as well as the furniture and home decor products, our communication and marketing strategies will stay more conservative, classic, focusing on the heritage and quality of the brand. We will tackle controversial social issues such as against animal testing and revealing the the truth of leather industry. We will change the silent and insignificant brand image of Bottega Veneta. By stirring up topic of zeitgeist, we will build a strong brand attitude and increase brand recognition. In general, we will turn Bottega Veneta into a new vibe that conveys the idea of modernity, independence and confidence, and help customers to find a way to express themselves.
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Content Analysis I 08 History 12 Exhibitions 18 Books 26 Campaigns 104 Interviews 129 Shows 162 Stores 169 Iconic Products 182 Iconic People 186 CRM 188 CSR 192 PESTEL
Analysis II 202 Vision, Mission, Values 206 3D Business Models 208 BCG 212 Strategic Group 214 Positioning Map 218 Brand Identity Prism 220 SWOT Analysis
198 5 Forces Framework
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Analysis One
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History
Bottega Veneta was established in 1966 by Michele Taddei. The name Bottega Veneta means “Venetian shop” and the company was begun to produce artisanal leather goods. The company’s artisans developed a leather-weaving technique, called intrecciato that remains a signature of the brand.
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Bottega Veneta is an Italian luxury goods house best known for its leather goods. Founded in 1966 in Vicenza, Italy, by Michele Taddei and Renzo Zengiaro Bottega Veneta (translates to “Venetian atelier”) initially produced fine artisanal leather goods. The label soon developed a leather-weaving technique called intrecciato and its woven bags remain a signature of the label to this day. It was purchased in 2001 by Gucci Group, now a part of the French multinational group Kering. Bottega Veneta is headquartered in Vicenza, in the Veneto region of northeastern Italy. The Bottega Veneta slogan is “When your own initials are enough“. Over time Bottega Veneta’s renown grew, thanks to the quality of its craftsmanship and the appeal of its discrete, no-logo design. In the 1970s, the company began advertising with the tagline “When your own initials are enough”. By the early 1980s, Bottega Veneta was a favorite of the international jet set. Andy Warhol, who did his Christmas shopping in the New York boutique, made a short film for the company in 1980s. Renzo Zengiaro left Bottega Veneta in the late 1970s. Michele Taddei departed a few years later. Vittorio and Laura Moltedo (Laura had previously been married to Taddei) moved from New York to Vicenza to run the company. Over time, Bottega Veneta’s fortunes declined and, by the 1990s, the brand had abandoned its understated ethos and ventured into more trend-driven fashion territory.
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The new chapter in Bottega Veneta’s history began in February 2001, when the company was acquired by Gucci Group. The German-born creative director Tomas Maier came on board in June of that year. and presented his first collection for Spring-Summer 2002. Before Bottega, Maier has worked for Sonia Rykiel and Hermès, with the aesthetic and values to return the brand to its original identity. He removed visible logos from the brand’s products, highlighted the signature intrecciato weave prominently, and returned the company’s focus to artisanal production. In the years since, Bottega Veneta has introduced additions to the collection, including fine jewellery, eyewear, home fragrance, and furniture, while continuing to offer an assortment of handbags, shoes, small leather goods, luggage, home items, and gifts. Bottega Veneta presented its first women’s ready-towear runway show in February 2005 and its first men’s runway show in June 2006. Today, ready-to-wear and furniture presentations are held in the corporate offices in Milan. In Summer 2006, in recognition of the importance of artisanal craftsmanship and the diminishing number of master leather workers in Italy, Bottega Veneta opened the Scuola della Pelletteria, a school to train and support future generations of leather artisans. Distribution of Bottega Veneta products is global, encompassing Europe, Asia, South America and North America. through more than 140 of its own stores. Wholesale distribution in select specialty and department stores is complemented by a growing number of Bottega Veneta-owned boutiques, currently located in Italy, Azerbaijan, Brazil, Australia, United States, Spain, France, United Kingdom, Malaysia, Mexico, Switzerland, Germany, Greece,Russia, Turkey, Denmark, Sweden, Lebanon, Bangladesh, Lithuania, Ukraine, Japan, China, Hong Kong, Guam, Korea, Taiwan, Singapore, Indonesia, Philippines, Thailand, Turkey, Kuwait, India, United Arab Emirates, Saudi Arabia, India and Norway.
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Exhibitions
2016 Art of Collaboration, Ullens Centre for Contemporary Art, Beijing
Bottega Veneta had beed helding exhibitions, founding artist and art galleries all around the world - America, London, Italy, Australia, China, Dubai and more. Collaboration of art has been a part of the brand’s heritage since former creative director Tomas Maier introduced “Art of Collaboration“ into the brand.
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Through the “Art of Collaboration” project, Tomas Maier has invited a host of photographers and visual artists to collaborate on Bottega Veneta’s campaigns, including Nan Goldin, Stephen Shore, Philip-Lorca DiCorcia, David Armstrong, Lord Snowdon, Tina Barney, Ryan McGinley, Collier Schorr, Alex Prager and Ralph Gibson. “Photography is one of my passions in life, and it has been very interesting for me to use photography to broaden the impression of what Bottega Veneta means today,” said Maier. “I wanted to use the campaigns to express a wider idea of creativity and craft that Bottega Veneta stands for, beyond the normal bounds of fashion.”
2016 Art of Collaboration, Ullens Centre for Contemporary Art, Beijing.
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2018 Bottega Veneta Masters of Craft, Australian Centre for Contemporary Art, Australia
The exhibition was off the walls and on installations, with a team of Italian skilled artisans showing the work that goes in to creating the coveted handbags.
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2016 Behind the Intrecciato, The Landmark mall, Hong Kong
World tour of the Bottega Veneta woven art installation exhibition (Behind the Intrecciato) kicked off in Shanghai, to brand the most representative works of three classic handbags--Veneta, Cabat and Knot into the device body, viewers can enter “handbags�, a close look at its spot the ingenious internal structure, explore weaving.
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The exhibition “unites Bottega Veneta’s commitment to encouraging the next generation of artists, supporting cultural innovation, and offers customers a unique experience not found elsewhere in the luxury retail sector...” according to the brand. Pleasures of the Imaginary follows a string of successful exhibitions for the label, from the inaugural show examining China’s ‘Damaged Heritage’, the second looking into common communicative objects in everyday life, and the third, titled ‘Facing Faces’, which delved into the art of the portrait before the last which explored humanity. The latest exhibition features the work of seven photographers and artists from across China, each offering a unique, personal interpretation of modern life and culture.
2014 Pleasures of the Imaginary, Yifeng Galleria, The Bund, Shanghai
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Books The brand has two books under it’s label: The Bottega Veneta Book, which is an illustrated survey of Bottega Veneta’s masterful craftsmanship and innovative design that celebrates the house’s discreet, refined individuality, epitomized by the famous line “When your own initials are enough.” Edited by Tomas Maier, former creative director of Bottega Veneta, with foreword by Matt Tyrnauer and various contributors. While “Art of Collaboration” showcases Bottega Veneta’s creative partnerships with world-renowned photographers and contemporary artists for the house’s seasonal campaigns, from 2002 to 2016.
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Slipcased hardcover. 304 pages. 220 color and B&W photos. Made In Italy. Language: English. 26.04 cm (10.25”) x 28.58 cm (11.25”). Published by Rizzoli New York, October 2012.
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Hardcover, 656 pages, 1000+ color and B&W photos. Language: English. 26.3cm (10.75”) x 34.24cm (13.5”). Published by Rizzoli New York, October 2015.
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Campaigns As a brand that values the connection between fashion and art, former creative director Tomas Maier teamed up with artistic photographer instead of fashion photographers to create advertising campaigns for every season, which is called “Art of Collaboration.“
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Spring 2019 campaign directed by Daniel Lee, lensed by Tyrone Lebon
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1997
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2001
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2002
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Spring 2003 (AGY)Work In Progress (CD)Tomas Maier (PH)Robert Broadbent
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2003
Fall 2003 (AGY)Work In Progress (CD)Tomas Maier (PH)Christopher Griffith
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2004 Fall 2004 (AGY)Work In Progress (CD)Tomas Maier (PH)Robin Broadbent (Hair)Ramona Eschbach (Makeup)Dina Gregg
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Spring 2004 (AGY)LI, INC. (CD)Tomas Maier (PH)Robin Broadbent
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2005 42
Spring 2005 (AGY)LI, INC. (CD)Tomas Maier (AD)Petronio Associates (PH)Philip-Lorca Dicorcia (Hair)Jimmy Paul (Makeup)Dina Gregg
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Fall 2005 (AGY)LI, INC. (CD)Tomas Maier (AD)Petronio Associates (PH)Philip-Lorca Dicorcia (Hair)Michel Aleman (Makeup)Dick Page (Models)Christy Turlington,Caitriona Balfe, Andrija Bikic
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2006
Fall 2006 (AGY)LAIRD+PARTNERS (STYL)Tomas Maier (PH)Lord Snowdon (Hair)Odile Gilbert (Makeup)Stéphane Marais (Models)Steve Walker, Olga Kurylenko
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Spring 2006 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (AD)Petronio Associates (PH)Stephen Shore (Hair)Odile Gilbert (Makeup)Mark Carrasquillo (Models)Will Chalker, Liz Goldwyn, Lydia Hearst
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2007
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Fall 2007 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (PH)Annie Leibovitz (Hair)Odile Gilbert (Makeup)StĂŠphane Marais (Producer)Ray Di Pietro (Models)Anja Rubik, Inguna Butane, Kim Noorda, Noah Mills
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Spring 2007 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (PH)Tina Barney (Hair)Yannick D’is (Makeup)Val Garland (Models)Inguna Butane, Cecilia Mendez, Chanel Inman, Emina Cunmulaj, Julia Dunstall, Lonneke Engel, Nelson Sepulveda
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2008
Spring 2008 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (AD)Trey Laird (STYL)Tomas Maier (PH)Sam Taylor-Johnson (Hair)Martin Cullen (Makeup)Charlotte Tilbury (Models)Thibault Oberlin, Alyona Osmanova
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Fall 2008 (CD)Tomas Maier (PH)Nick Knight (Models)Olga Sherer, Kim Norrda, Andrew Cooper
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Cruise 2009 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (PH)Todd Eberle (Model)Collette Pechekhonova
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2009
Fall 2009 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (PH)Steven Meisel (Hair)GUIDO (Makeup)Pat McGrath (Model)Anna Jagodzinska, Sigrid Agren, Eddie Klint
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Spring 2009 (AGY)LAIRD+PARTNERS (CD)Tomas Maier (PH)Larry Sultan (Hair)Odile Gilbert (Models)Emma McLaren, Sean Harju
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Fall 2010 (AGY)LLOYD & CO (CD)Tomas Maier (PH)Robert Longo (Makeup)Tom Pecheux (Hair)Didier Malige (Models)Terron Wood, Alla Kostromichova (Graphic Design)Martin Sandberg, Noa Hecht
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2010
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Spring 2010 (CD)Tomas Maier (PH)Nan Goldin (Models)Anya Kazakova, Sean O’Pry
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2011
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Spring 2011 (AGY)In-House (CD)Tomas Maier (PH)Alex Prager (Models)Karolina Kurkova, Santiago Montero
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Fall 2011 (AGY)LLOYD & CO (CD)Tomas Maier (PH)Robert Polidori (Models)Isabeli Fontana, Nicolas Ripoll
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2011 Perfume (AGY)In-House (CD)Tomas Maier (PH)Bruce Weber (Model)Nine d’Urso
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Cruise 2011 (AGY)In-House (CD)Tomas Maier (PH)Mona Kuhn (Models)Kasia Struss, Mathias Bergh
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Spring 2012 (AGY)In-House (CD)Tomas Maier (PH)Jack Pierson (Models)Karmen Pedaru, Alexandre Cunha, Liya Kebede
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2012
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Fall 2012 (AGY)In-House (AD)Doug LLOYD (CD)Tomas Maier (PH)Erwin Olaf (Hair)Orlando Pita (Makeup)Mark Carrasquillo (Models)Aymeline Valade, Simon Van Meervenne
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2013
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Spring 2013 (CD)Tomas Maier (PH)Peter Lindbergh (Hair)Julien d’Ys (Makeup)StÊphane Marais (Models)Baptiste Radufe, Freja Beha Erichsen
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Fall 2013 (CD)Tomas Maier (PH)Ralph Gibson (Hair)James Pecis (Makeup)Mark Carrasquillo (Models)Raquel Zimmermann, Mathias Lauridsen
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2014
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Spring 2014 (CD)Tomas Maier (AD)Meirion Pritchard (Ph) Pieter Hugo (Models)Mark Cox, Amanda Murphy
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Fall 2014 (AGY)LLOYD & CO (CD)Tomas Maier (AD)Meirion Pritchard (PH)David Sims (STYL)Katie Grand (Models)Otto Lotz, Edie Campbell
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Cruise 2014 (CD)Tomas Maier (PH)David Armstrong (STYL)Camilla Nickerson (Models)Lucas Mascarini, Laura Love
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Spring 2015 (AGY)LLOYD & CO (CD)Tomas Maier (AD)Meirion Pritchard (PH)Nobuyoshi Araki (STYL)Katie Grand (Hair) Kamo (Models)Saskia de Brauw, Sung Jin Park
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2015 2015 Parfum (CD)Tomas Maier (PH)David Armstrong (STYL)Camilla Nickerson (Model)Julia Nobis
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Fall 2015 (AGY)LLOYD & CO (CD)Tomas Maier (AD)Meirion Pritchard (PH)Juergen Teller (STYL)Katie Grand (Models)Anna Cleveland, Freddy Drabble
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Cruise 2015 (PH)Ryan McGinley (STYL)Tomas Maier (Models)Janis Ancens,Tilda Lindstam
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Spring 2016 (CD)Tomas Maier (AD)Meirion Pritchard (PH)Viviane Sassen (STYL)Katie Grand (Makeup)Miranda Joyce (Hair)Syd Hayes (Models)Sven De Vries, Mica Arganaraz
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Fall 2016 (CD)Tomas Maier (AD)Meirion Pritchard (PH)Viviane Sassen (Makeup)Sam Bryant (Hair)Syd Hayes (Models)Rianne Van Rompaey, Simon Fitskie
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Cruise 2016 (AGY)LLOYD & CO (CD)Tomas Maier (PH)Raymond Meier (Models)Josephine Le Tutour, Ben Allen
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2016 Perfume (CD)Tomas Maier (PH)Axel Filip Lindahl (Hair)Mike Lundgren (Model)Zak Steiner
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2017
Fall 2017 (PH)Todd Hido (STYL)Katie Grand (Makeup)Mark Carrasquillo (Hair)James Pecis (Model)Mariacarla Boscono
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Spring 2017 (PH)Todd Hido (CD)Tomas Maier (AD)Doug Lloyd (Hair)James Pecis (Makeup)Mark Carrasquillo (Models) Lauren Hutton, Joan Smalls, Vittoria Ceretti, Hannes Gobeyn, Morten Nielsen
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Spring 2018 (Director)Fabien Baron (CD)Tomas Maier (PH)Maxime Poiblanc (Makeup)Mark Carrasquillo (Hair)Shay Ashual (Models)Janis Ancens, Vittoria Ceretti, Aube Jolicoeur, Sora Choi
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Fall 2018 (Director)Fabien Baron (STYL)Ludivine Poiblanc (Makeup)Mark Carrasquillo (Hair)DUFFY (Models)Fran Summers, Tim Schuhmacher
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Interviews Through interviews we get to know the detials and feel the true personality of every designer behind a brand. “Something simple is always more complicated,” insists Maier. “Obviously what you buy from Bottega Veneta is not a disposable product. It’s an object you keep and it’s an investment. It’s a bag you carry for a year, and if you don’t carry it any more, it goes into the closet and two or three years later, you see someone else with it and think, ‘Ah, I have that bag’. And it comes out again.” Tomas Maier, who is usually quite quiet in front of people, shows the humour side of his characteristics and interesting stories he had been through before he joined Bottega Veneta.
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November 15, 2018,Vogue with Daniel Lee.
Through the new creative director of Bottega Veneta, Daniel Lee’s first ever interview with Vogue. Interesting to know and anomalous as a millennial, Lee doesn’t have an Instagram account and hasn’t been socializing in fashion circles in Milan. According to the interview, he’s been focused on the work, and he believes life is all about living in the moment as well as design. Lee’s first collection for the brand, Pre-Fall 2019 for both women and men turned out amazingly beautiful, his idea was building an iconic wardrobe. “For me right now, designing real clothes is more exciting than a fashion message. We really need to establish who our icons are and have a bit of an immediacy around the clothes.” Lee said in the interview. Though he didn’t really design the collection, he did “tweak” it by taking on Tomas Maier aesthetic for Bottega Veneta and his own experience (“to push things as far as you can”) from back then when he was the director of ready-to-wear design at Celine with delighted atmosphere and conciseness. Lee’s first instinct for the collection was to clean it all up and get back to what really felt essential and his ambition was simple: “to just make some really great clothes, for people to live in and love and really enjoy.” When asked about the logo-obsessed craze and celebrity-driven business, Lee said Bottega Veneta is not going to be about logoed product and he thinks celebrities are from a very different kind of world Bottega Veneta is living in.
May 8, 2018, Architectural Digest with Tomas Maier.
According to the interview, Tomas Maier has long admired the work of the artist Donald Judd, an American artist associated with minimalism, and had inspired him over the years by teaching him to always search out the essence. During the interview, Maier also talked about his love and collection of art. His standards of collecting an art piece in photography, it is all about the “right” image from a certain photographer; in antiquities, it is the composition and expressiveness of the piece. It remind us the previous campaigns directed by Maier and cooperated with different photographers, the images are always well-balance and clean, just as Maier’s standards.
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April 18, 2018, Tomas Maier with Vogue Italia In the interview, creative director Tomas Maier talks about Bottega Veneta’s first digital campaign. For years Tomas Maier has interlaced the advertising image of the brand with his passion for art, involving photographers not always accustomed to the fashion world such as Robert Longo or Nan Goldin. Now the Art of Collaboration project enters a new era with a “digital-first” campaign for S/S 2018, which redefines the rules for fashion advertising.“Collaboration is a fundamental part of the brand culture,” Maier explains. “In the end there is always someone who has to make decisions, but many points of view contribute in different ways to achieve the result.” Together they created a surreal and magical world, where references to a historical past are juxtaposed with those of a hypothetical future, surrounded by striking sonorous and luminous effects. “These films have different levels of interpretation. Each person interprets them in a subjective way and we like it when this happens.”
February 12, 2018, The Love Magazine with Tomas Maier. Bottega Veneta showed their Fall Winter 2018 Collection at New York Fashion Week, the brand hosted the special debut to celebrate the opening of their flagship store at 740 Madison Avenue, New York as they dedicated their latest women’s and men’s collection to the spirits of New York people -- boldness and bravery. As a fan of architectures and fashion, creative director Tomas Maier thinks architecture and fashion are both practical arts as they require both form and function. Maier said: “I like the challenge of being creative within that framework. It’s very satisfying to make a bag or a piece of clothing that’s not only beautiful, but is also designed thoughtfully to function as well as it possibly could.”
February 12, 2018, Tomas Maier with GQ Magazine “We usually always show at home in Italy, but this season, exceptionally, we are showing in New York, because we’ve opened our new North American home,” Maier told us. “It’s kind of a coming home; an emotional moment for the company.” According to the interview the collection itself was inspired by the new store. Maier, an architecture fanatic, took the blocks from which the shop was built as the starting point for the clothes. “I started thinking about a cube: a cinder block or brick, [the thing] you start [with] and build up,” says Maier. “That element is in the collection. It gives you a sense of perspective. Taking it from there I thought about New Yorkers, obviously. I’m a part-time New Yorker and that person is inspirational as well. [That person is] crazy and bold and outgoing, but there’s also always a moment you need for seclusion.”
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April 08, 2018, A&E Interviews: Tomas Maier, Creative Director Of Bottega Veneta
What are the core values of Bottega Veneta? The foundation of Bottega Veneta’s values remain the Four Cornerstones which I established when I arrived at the brand in 2001. They serve as a strong guiding principle for everything that we create, from our core leather goods to jewellery and fragrance. How do you think the DNA of the brand has changed over the years and what has stayed the same? On the foundation of the Cornerstones, we have built our pillars and creative ideals. Among the pillars are things that we value as part of the brand’s culture, Sustainability, Individualism and Experience. Our creative ideals include mystery, surrealism, and sensuality. These have all evolved and deepened over time. What do you identify as the major signatures of the house? The intrecciato weave is undeniably the most recognisable signature of the house. It’s our default logo. But what I love about intrecciato is that we find creative ways to approach it every season. For Spring, we introduced the Intrecciato Checker, which uses a colourful graphic contrast weave. We also created the Intrecciato Wingtip workmanship, which translates the decorative perforations of a brogue onto an intrecciato City Knot handbag. Intrecciato is so perfect and simple that the possibilities of how to reinvent it are endless. How do you continue to keep the brand covetable and fresh, balancing tradition and innovation? The design process is a collaboration between myself and the artisans. It’s a dialogue and there’s mutual respect.Their work is based on strong roots but it’s always evolving.That’s what keeps all of us motivated. We like a challenge. We don’t like to do the same thing over and over, because that would be boring. Because of the way we work, tradition and innovation are completely intertwined. Tell us about how the craftsmanship sets Bottega Veneta apart from other brands? I can’t speak for other brands, but we are unequivocally committed to craftsmanship. I think our atelier in Montebello Vicentino, which is built within a beautiful Palladian villa, is evidence of how important craft is to us as a company. We respect our artisans and treat them well. We also patronise other Italian artisans to keep their businesses alive. In the Spring Summer 2018 collection, we used silk from Taroni, an old mill based in Como, and we use Murano glass for our fragrance bottles. We have to support these people and these traditions, or they will die out. What do you think has been the key to growth and building a strong identity? Staying true to the brand and being aware yet not listening to the noise. When did you your passion for fashion start, and love for fashion come from? Was fashion a career that was always destined for you? My father was an architect and I very much liked architecture but if I went into it, I would have
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been taking over the family business. I also became interested in fashion when I was around 15 years old, and later, I decided to apply to the Chambre Syndicale de la Haute Couture and left for Paris shortly after I finished high school. What drives you and keeps you inspired? I have always been inspired and passionate by many things, art, architecture, photography, music, and the places and things I have discovered on my travels and throughout my life.There are many things I find inspiring in the Veneto region, the architecture of Palladio, the paintings of Veronese and the sculpture of Canova. Or it could be a certain kind of Japanese lacquer or a strange plant specimen. Tell us about your design process, and how it begins? My design process always starts with colour, which is extremely important at Bottega Veneta. Our palette is unique and every single material, every single yarn, every single fabric of ours is custom. Nobody else dyes everything that they use. Colour is key for us because it has that inherently Italian playfulness. It’s the very specific joy of living in Italy. Tell us about the concept behind the Art of Collaboration? Originally, I conceived of the Art of Collaboration because I love photography as an art form and collected photography for many years. When the opportunity came up to create a new approach for a luxury advertising campaign, I thought I could go with a fashion photographer or I could go with an art photographer which is more my world, and that would tie into the idea that Bottega Veneta is a brand for the individualist. Why did you choose to collaborate with artists and photographers for your advertising campaigns? I like the idea of bringing something educational. Maybe I can help them discover unknown territory. Perhaps they knew some photographers we collaborated with but not all. I think this new campaign that we created with Fabien Baron, since these striking moving images can exist on so many platforms, will bring the same dynamic, just in a different way. To you, what is luxury? Having personal, private time. Tell us about why you brought back the tagline, ‘When Your Own Initials Are Enough’? When I arrived at Bottega Veneta, it was the era of the ‘it’ bag. I wanted to give something to people who wanted something that was beautifully made, timeless and free of any of the logos and excessive hardware that was so prevalent at the time. I discovered this tagline ‘When Your Own Initials Are Enough’ in an old Bottega Veneta advertisement, and it just fitted the moment and the mood perfectly. What are your thoughts of logomania, and the rise of logos in luxury fashion? Fashion goes in cycles and therefore logos come and go. I think what is important in this industry is to stay true to who you are.
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September 28,2017, Tomas Maier with The Glass Magazine
What was the general direction of this collection? Lots of happiness. Beautiful colours, very comfortable. Nice fabrics. And sometimes things are a little bit tough for all of us. So I think we need something to get us going in the morning. The collection felt a bit tougher with the grommets and a little younger than it has in the past. Was that intentional? Sure. We obviously always embrace the younger customer and new customers. We do have a lot of younger customers. Even if you look at places like China, our customer base is very young. So I am very happy about that. And yes. I like that all the kids are from different places in the world. How important are the materials for your designs? Very important – I have always embraced different materials. For examples, we have just talked about the jacket, and this jacket has silk in the inside, so a silk lining. This has no weight. This is what I like. I like to use a variety of fabrics. It is important how you use the materials. You talk about the importance of the production process. Will any of the home items be more affordable? The general runway is more like laboratory process. So it is very labour intensive. This collection will always be expensive because of that. Three collections, three processes. We will try to really think about the price. How do you adapt to the new methods of communication when it comes to the branding in the digital era? Has that changed your way of communicating? Sure. More and more people are engaged. More and more important. Especially if you want to talk to younger people, especially in the way you are communicating. Sustainability is becoming a buzzword in the industry. How achievable do you see it is in the luxury world? Is it something that you see as important? I think it is very important for us. Am I supposed to buy this without any guarantee that it is clean? No, that is not okay.True luxury comes from visibility.You should be able to place it as a priority. It is commonsense. It is understood, it is expected. So it is a priority for us, on every level.
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August 4, 2017, Tomas Maier with Grazia
“It’s the people that I’ve worked for or with who have influenced me the most on a professional level,” he tells us of life lessons picked up along the way. “From Sonia Rykiel, I learned how crucial it was to believe in your own vision. From Hermès, I saw the importance of tradition and quality, and learned that luxury products are not only shaped by passion but also by patience. For a young designer, it was an invaluable education.” “There’s a commitment to our legacy that keeps us concentrated on what we do. La Scuola, for example, grants continuity to our incredible tradition,” he says of the rationale behind investing so much in education. “It’s this and heritage that are our inherent values. I strongly believe in the importance of protecting culture as a substantial part of our history. By respecting it we have an opportunity of growth and evolution, bringing our stories to the next step.”
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May 5, 2017, Tomas Maier with Da Man
DA MAN: Let’s talk about Bottega Veneta’s spring/summer 2017 collection. The patches of leather for the bags, shoes and jackets of the collection are definitely exciting. Do you believe that good fashion design must always include some sort of geometric elements like these? Tomas Maier: I always like making things simple. A sweater and shirt, a shirt and a pair of pants—this is what I like. It’s simple, but of course it’s incredibly sophisticated. Many of the clothes have leather details that can be detached. They give a graphic element that widens the hips and makes the bust look smaller. DA MAN: What was the most difficult part of creating this particular collection? Tomas Maier: As a designer, it is about creating a very deliberate mix of the mental and the physical. I want to design things that combine intellect, emotion, craft and functionality, having in mind our clients who are confident and sophisticated men, who express their personality with individualism. They are such a challenge to make and are so complex, and I love that the result looks so super-simple. That is how the best design should be: invisible DA MAN: And what do you usually do when you’re creating a whole new look? Tomas Maier: It is not my intention to dictate rules of dressing. I simply stay true to my own sense of aesthetics and value and trust that others will share and appreciate my sensibility and work. It is important that each element is crafted to enhance an individual’s own style, and to be a part of their life for a long time. DA MAN: You often mention that architectural work inspires you. How does it influence your designs? Tomas Maier: Both art and architecture have always been a source of inspiration for me, even if not literally. I have a personal and deep appreciation of art and architecture, and I strongly believe in the importance of protecting culture as a substantial part of our history and heritage. In respecting it, we have an opportunity of growth and evolution, thus bringing our stories to the next step. DA MAN: Going back to the 50th anniversary of the house, what do you think should people remember about the house when discussing such an important milestone? Tomas Maier: Bottega Veneta is about the craftspeople. They are the ones with the knowledge, and they are at the heart of the brand. This collection reveals their work at its absolute best.
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DA MAN: How would you sum up the evolution of your design for the brand throughout those 15 years? Tomas Maier: I think my vision for the brand hasn’t changed since I joined, but it has certainly evolved. With everything we have created over the last 15 years, we are in a completely different place. It has been, and continues to be, a challenge for us, and we like bringing it to a certain level of being unexpected. Even when somebody says “it’s never been done,” there’s always a solution. DA MAN: Do you remember the first item you designed? Tomas Maier: The Cabat was the first bag I designed at Bottega Veneta when I joined in 2001. I wanted to design an iconic item which could represent Bottega Veneta and transcend seasons, reflecting the philosophy of understatement, luxury and contemporary functionality. DA MAN: How do you resist trends and yet remain relevant to the modern man? Tomas Maier: I do not design really for a specific man; instead, what has always appealed to me is the way clothes can convey a sense of individualism and non-conformism. I think that nowadays, clients appreciate quality and impeccable craftsmanship more and more. There seems to be a growing understanding of what true luxury means: The attention to detail, the most exquisite materials, beautifully made things that stand the test of time and grow better with the years. DA MAN: What do you hope to achieve for Bottega Veneta within the next 10 years? Tomas Maier: Heritage and tradition are inherent values of Bottega Veneta. We will always stay true to the artisanal roots of the house: A cultural heritage which fuses technique and creativity with know-how and gestures that have been passed down over time and grant our brand’s identity. We are proud of where we are today but we’ll keep on constantly challenging ourselves to bring our brand one step further, finding innovative techniques and new materials, avoiding trends and staying true to the artisanal roots of the house, which allows Bottega Veneta to be both relevant and desirable.
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October 28, 2016, Tomas Maier with Prestige
In the interview, creative director Tomas Maier talks about the first bag he creat. “The Cabat was the very first bag I created. It was presented with Spring/Summer 2002 in two sizes: Medium and large. I wanted to design a bag that would be unlined, and as beautiful on the inside as the outside, and that would have embodied the understated, timeless luxury that defines Bottega Veneta, as well as represented the virtuosic craftsmanship of the house in the woven strips of double-face leather by hand,” he explains.At the height of It Bag and logomania, he went against the grain and introduced the complete opposite — the Cabat bore no bling nor brand; instead it resembled a French shopping basket. His anti-trend statement led to Ford’s now-famous remark: “By not doing the It Bag, you do the It Bag.” True enough, it would go on to be one of fashion’s most enduring icons. When asked about his key of leading the brand to sucess, “I think the key to our success has been a style which is individual, timeless and resolute in respecting our founding values with no compromises,” Maier muses. He successfully restored the confidence expressed in the brand’s anti-logo motto established back in 1970s: When your own initials are enough. “I believe that people have developed a keen sense for real quality and this always pushes our work and research further,” he adds. “Bottega Veneta does not follow trends. Here, we create a lifestyle and value the importance of craftsmanship and research for new techniques and materials, and their time requirements have to be respected, and not rushed. We will never compromise on these values; each object resonates within a very precise aesthetic and is conceived to remain an object of beauty for years to come.”
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July 18, 2016, Tomas Maier with Goldenes Quartier
The interview started with a interesting opening: “I have friends in the fashion industry who say you can go to a cocktail party and put a name on every dress,” says Tomas Maier, creative director at the luxury brand Bottega Veneta. “And then there is one dress you can’t put a name on.” He pauses and smiles. “And that is the Bottega dress. That is good. I take that as a compliment.” Maier later on shared his story when he first started with Bottega Veneta as well: “When we started, big department store executives would say: ‘You’ll never sell one of these wallets. You have to have a logo on it to sell. You will never make it in this industry.’ ” He laughs. “And I said: ‘OK. Thank you for letting me know.’ ” The last laugh is indeed his. Bottega is now the second biggest Kering brand after Gucci, with 88 percent of revenues coming from leather goods.
September 9, 2015, Tomas Maier with How To Spend It
Maier has always focused on clothing and accessories that work in the real world. Softness is everything in his leather goods. Signature Intrecciato briefcases have as little structure as possible, while he talks of cross-body bags soft enough to take on the shape of the body. “It becomes more appealing when it’s not a product hanging off you, but has the curve of wherever you wear it. Then I like the idea of clothing that is broken in. There’s something unappealing about clothes that look new. A bag, a coat, a pair of shoes – something with a little patina is always more attractive, more real and feels better.” The interview mentioned one of Maier’s first acts for the brand was to bring back a tagline from Bottega Veneta’s early days: When Your Own Initials Are Enough. It was at the time of a luxury industry logo mania. Maier wanted to take a different path. “I feel uncomfortable when somebody’s trying to read the name on a button or peek inside my jacket to see what the brand is,” he says. “What you want to achieve is a situation where you wouldn’t see clothes at all – you just see the person.”
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September 26, 2016, Tomas Maier with Vogue
How does it feel to be at the brand as it celebrates its 50th year? “I like looking back to what we’ve been able to build and I couldn’t be more proud of what we’ve been able to achieve in collaboration with all the people who constantly work for this company with their incredible dedication and commitment. For this reason I look at our future, imagining what we’ll be able to create moving from here. I am honoured to have led our story, and have the opportunity to continue leading it.” How do you think the DNA of the brand has changed over the years and what has stayed the same? “The motto of the house, ‘When your own initials are enough,’ dates back to the Seventies and speaks to our belief that Bottega Veneta’s signature is its craftsmanship. When I began, the motto had fallen into disuse, but we revived it. It represented where I wanted us to return. My goal was to build a brand focused on highlighting the product and enhancing its individuality.” What do you identify as the major signatures of the house? “Heritage and tradition are inherent values of Bottega Veneta. We will always stay true to the artisanal roots of the house, a cultural heritage which fuses technique and creativity with know-how and gestures that have been passed down over time and grant our brand’s identity. That was the starting point, along with our four cornerstones of outstanding craftsmanship; timeless yet innovative design; contemporary functionality; and the highest quality materials to define anything from Bottega Veneta. When I joined the house it was losing its identity and roots, so I instituted those four cornerstones. Once these principles had been defined, I went on to develop Bottega Veneta into a full-range luxury lifestyle brand. This philosophy continues to drive everything we create and produce today.” How have you changed since you came on board as creative director? “I think my vision for the brand hasn’t changed since I joined, but it certainly has evolved. With everything we have created over the last 15 years, we are in a completely different place. It has been, and continues to be, a challenge, and we like bringing it to a certain level of the unexpected. Even when somebody says ‘It’s never been done,’ there’s always a solution.”
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You are involved with a lot of artistic projects within your role, why is this important to you and the brand? “Collaboration is at the heart of Bottega Veneta and has the most complete meaning. First of all, everything that we produce is as a result of people working together, from my role as creative director, to the design team, to the craftspeople who make our products. We are very proud of our artisans working in the atelier in Montebello Vicentino, in the Veneto region of Italy where Bottega Veneta is from. I like the sense that there are skilled hands behind Bottega Veneta who come together to make our products. In a way the “Art Of Collaboration” campaign extends this sense once the products have been made, collaborating with photographers and artists to create something valid and of quality. It’s an enriching process personally and it’s extremely enriching for the house. Additionally, art and architecture have always been a source of inspiration for me. I have a deep personal appreciation of art and architecture and I strongly believe in the importance of protecting culture as a substantial part of our history and heritage. By respecting it, we have an opportunity of growth and evolution, and are able to bring our stories to the next step.” How do you continue to keep the brand covetable and fresh? “The biggest challenge is to always maintain an interest and an excitement both for myself as a creative director, and for our clients. There’s always novelty and excitement with new projects and new collections.” What are your views on see-now, buy-now and do you think this would ever work for the brand? “Bottega Veneta remains committed to a timing of presentation and launch that gives production the time necessary to create a sophisticated handcrafted collection that conveys a dream even before it hits the boutiques.” How do you, as a designer, switch off and relax? “Travel. I have moved around a great deal, but an unforgettable place I’ve travelled to is the Benesse Art Site on Naoshima and its surrounding islands. It is beautiful on an architectural level because it is incorporated and displayed in a beautiful way, harmonious with the landscape.”
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December 14, 2015, Tomas Maier with Independent
Editorial from Harper’s Bazaar
The interview talked about how Tomas Maier put Bottega Veneta back to the map. Maier has worked with artists and photographers on each of the label’s campaigns since he joined in 2001 – including Nan Goldin, Nobuyoshi Araki, Ryan McGinley and Tina Barney, as well as Longo.They’ve now been collected into a book, glossy and expensive like a Bottega bag, but a fair bit heavier – it weighs in at 9lbs; a Bottega Cabat weighs about 12oz. Rather than engaging a photographer to translate Maier’s vision into a print advert – the industry norm – he invites them to add an imprint of their own. Longo’s aesthetic is unmistakable in his Bottega Veneta; so is Tina Barney’s in hers, and Nan Goldin in hers.
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June 1, 2015 Tomas Maier with Business Of Fashion
Editorial from ELLE Magazine
The interview talked about Maier’s different experiences before he joined Bottega Veneta: his childhood, early freelance designer life and his times when he was working for Sonia Rykiel. and the achievements he made in Bottega Veneta. When talked about his own personal label brand, he refuses to blindly apply what’s worked for Bottega to his own brand. “The key to success for a brand is to have an identity, a personality. Be different and distinct. The worst thing is applying the same recipe that works for one company to another place. It’s completely wrong. It’s by embracing the differences that one succeeds.”
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April 30, 2014, Tomas Maier with The Talks
Mr. Maier, how much attention do you pay to the rest of the fashion industry? I don’t look. I find it distracting. I’m more interested in our customer, who he is and what he is looking for. In my 20s I looked at everything I could. I went to every fashion show, I sneaked in anywhere I could. I wanted to absorb the most I could and see a lot. I think that’s important when you are a student or when you’re starting out – you need to see things – but then I think there comes a time when that is just distracting, always looking at what other people do. I think the people who are the best are the people who concentrate on their own thing. So in order to succeed as a designer, one doesn’t have to take part in the glamorous circus the fashion industry is so well known for? No, and I’m proof of that. I like to be a kind of rebel. I hate when people say, This is set in stone. These are the rules. This is how you do it. I hate that. It’s stupid and the recipe doesn’t even work most of the time. What recipe? That you need a show and you need to pay people to sit in the front row who have nothing to do with nothing and you need to have this article and that article. Then you do all of that and you’re out of business two seasons later and nobody talks about you anymore. Nobody even talks about the fact that you are out of business. I find that very upsetting, this stupid system. It doesn’t have to be like that and I think we proved that at Bottega Veneta. Many brands find themselves on the opposite side of the spectrum, where the image of the fashion designer and the logo of the house seem to be more important than the product itself. Why does the product need to define a person as this or that? Let the product take on the personality of the wearer. It should be about the wearer, it shouldn’t be about the product. I should look at someone and not think about what you are wearing, which is actually perfectly the case when I look at you for example. It does not even come to my mind for a second and that’s how it should be. We should think, “Can we make something pleasing t o you?” I think it is a big problem in today’s world that a lot is done just to please the media or to get picked up in the media, it’s not done with the consumer in mind. And I think that you can’t forget about that, because that’s whom you work for at the end of the day.
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So what are the most important aspects of a product from the consumer’s perspective? Functionality plays a key role, because nothing means anything if it doesn’t work. For any product. Nothing at all. If I design a perfume bottle and it leaks in the end, then what is the point? It’s just design for design’s sake and I don’t like that. I find it unbearable. It’s not just to make something that looks different, it’s also a matter of fact to make it work. It doesn’t mean anything if it doesn’t appeal to anybody in the end. Why are you doing anything if nobody wants it? Are you against embellishment? No, I have nothing against embellishment. I’m all for eccentricity, I’m all for the unexpected and for making it exciting for people. But there has to be a reason. If it’s just to be put in a window to make a bit of an effect, I don’t find that very stimulating creatively. What part do you find most stimulating? I like when you have to bring it all together: functionality, design, the material, how you craft it. How you make it is key. And I need to look really closely, because with all of the people involved in making a product, it isn’t just putting something on a piece of paper and handing it to someone else. You don’t get a result like that. You have to go there, you have to talk to people and find solutions. I also like a design of improvement, of making things better, always. Always make it better. It seems like perfectionism is a big part of your work. Yeah. That makes it exciting. It’s too easy otherwise; it’s not fun. And I’ve done this for a long time – I try to keep it interesting. We are always working with technology as another way to propel the craftsmanship forward. You have to improve the product all the time, because a product that is contemporary is a product that has that functionality to it. If I pick up a suitcase or a bag and it’s already hanging before I even put a sweater in it – “Hey, there’s something wrong here. I’m not going to buy this!” This is not today’s world. I want everything to be light. Life is heavy enough the way it is.
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October 22, 2012, Tomas Maier with Vogue
Do you pay much attention to other designers and other fashion labels? No, not at all. I think there’s a time for everything in life. I always say that to the kids who work with me in design. I went through that period when I would die to go a fashion show. Dressing up like a cleaning woman to get into the Thierry Mugler show—you did anything you could to sneak in and be part of it. It’s great, it’s an experience. I just don’t like it anymore. There comes a time when seeing other people’s work is throwing me off. I’m inspired by other things. Not runway shows. For me it’s a turnoff. What do you like to look at, then? Where do ideas come from? Anything. I’m very curious. I like to look at art, the auction house, online auctions. I like to look at architecture all the time. Basically, I’m super-curious, and I like to do research. That’s what I use the computer for. What’s your biggest achievement, having been at Bottega Veneta for 11 years now? I think the biggest achievement is that we have a client. For me, that is the key, the most important thing. There’s no need for me to come to work, no need for the artisans and the design team to collaborate and to work on all of this if there wouldn’t be a response to it. Another thing is that we never let anybody go. At the beginning, it was very tough. When I came on board, the company was in very bad shape. There was very little money for salaries left. But everybody was smart enough to realize that the people were the number one asset. What are your goals for yourself and the company over the next ten years? For the company, I would like to move ahead. I want to see it where I think it should be. It’s on a good route to be there. There’s so many different categories, projects, furniture, stores, ad campaigns, catalogs, perfumes. This symbol [perfume] is becoming very important for us. I’m working now on projects that are for 2018. The Eau Légère is coming out now. Then there’s men, there’s the bathroom [products]. It’s never-ending. I only like a scent that remains, something that is around forever. I hate that in the world of perfume there is permanently something new coming out—another new bottle or another bright packaging. And I hate when I go to the airport duty-free— now that I’m in that category, I always go through the duty free—I hate the walls, when all of the packaging is different. I can’t stand it. There are very few people who have a strong vision and strong lineup. All of that takes a lot of thought and consideration. But it’s fascinating, the collaboration…to meet noses and to work with those people. Every time, I always tell our partner Coty Prestige that I have to meet eight to ten noses. It’s interesting always. That’s a fascinating universe.
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And what about personal goals? For me, myself, I’m not that into planning. I don’t want to move away from here because I’m very happy where I am. I’m very happy to work here, I’m happy with the people I’m working with and the people I’m working for. There’s no need to move elsewhere. But then, I might do something else, one day. I have changed many times in my life. Radically changed, like move countries, move places, given everything up and started fresh. So I wouldn’t exclude anything. I wouldn’t have a life that is so laid out; I find that too boring. Like when I moved away from Paris, when I was 43 years or 44. Because I thought, “Hey, if I live here for ten years, I’m actually going to be old here. I’m going to be getting old.” I just felt like, it’s time to move on. I had been in Paris, at that time, for about 25 years. Twenty-five years is a long time. It was a long time, it was a great time, but I just felt it was enough of that. You’ve been in cycles and you’ve been through the mill so many times that you know what it’s about. I needed some change. And it might happen again.
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March 10, 2011, Tomas Maier with Vogue Australia
You have created a distinct signature for the house centred on quiet luxury, no matter how riotous the trends of the time. Why have you always felt it important to build on the brand’s logo-less heritage? “I came to Bottega Veneta because I admired the amazing abilities of the artisans and the heritage of understated luxury. It is a brand focused on the fundamental integrity of the product, which I think is the best possible foundation. In my opinion a logo obscures the object that it sits on – you see the logo more clearly than you see the object. With Bottega Veneta we had the opportunity to build something rare and valuable, which, to me, is true luxury. When you took up the post in 2001, what vision were you hoping to create for the company? “I went through the archives of the early leather goods and handbags, because that was the house’s original strength. One of the first things we did was to establish the principles that would guide us going forward. They are fine quality craftsmanship, contemporary functionality and timeless design. These cornerstones are like a road map – they enable us to grow without losing sight of our priorities.” And what excites you about the future of fashion? “On a technical level, I think the future will see the development of incredible fabrics and materials, things we can barely imagine now. More philosophically, I’m hopeful for the future of artisanal craftsmanship. If young designers learn to work with skilled craftspeople, the results could be fantastic.”
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Editorial from Harper’s Bazaar
January 3, 2011, Tomas Maier with The New Yorker
The interview reveiled Maier’s goal as a designer is to strip away all unnecessary parts until a dress or a shirt or a bag or a watch has been reduced to its functional essence—until it achieves what he calls “a certain nothingness.” “You look at a piece of abstract art and it’s a white canvas,” he said. “And it’s just, like, a line, and somebody standing next to you says, ‘I really could do that.’ ” He rolled his eyes. “Actually, no.” And when talked about The It Bag, Maier declaired his thoughts: “The It Bag is a totally marketed bullshit crap,” Maier said. “You make a bag, you put all the components in it that you think could work, you send it out to a couple of celebrities, you get the paparazzi to shoot just when they walk out of their house. You sell that to the cheap tabloids, and you say in a magazine that there’s a waiting list. And you run an ad campaign at the same time. I don’t believe that’s how you make something that’s lasting—that becomes iconic as a design.” Tom Ford, the former creative director of Gucci Group, who hired Maier to run Bottega Veneta, described Maier’s strategy: “By not doing the It Bag, you do the It Bag.” The Cabat’s weaving pattern is now used—discreetly—on virtually every Bottega Veneta product, from the etched pattern on the bottom of glasses to napkin rings, chair bolsters, jewelry, and cutlery.
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December 3, 2009, Tomas Maier with The Interview Magazine
BLANKS: You mentioned nothingness. Is that really your goal at the end of it all? MAIER:Well, that’s what’s interesting.You know, I’ve been in clothes-making for 32 years.Think how many times I’ve made a blazer in my life, how many shirts I’ve made. What’s interesting is to strive for a certain perfection, and what’s perfect is nothing. BLANKS: As in complete purity? Or is it that the more “nothing” the clothes are, the more “something” the person wearing them is? MAIER:Yeah, I mean, the better the clothes are, the less you see them. BLANKS: Is that the ultimate craftsmanship for you, to actually make the craft completely invisible? MAIER: It’s the ultimate for me not to see how it’s made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale [de la Haute Couture] in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn’t know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision. So this is why I’m making bags that don’t even have a seam. But many people don’t get that. They run through the showroom and go, “He did yellow bags this season.” That’s fine. Not everything needs to be visible to everyone. But personally, that’s what makes my work interesting to me.The whole fashion thing is not that interesting to me. The overall circus is not my universe. BLANKS: So in the end, this is all about you, your personal quest? MAIER: No, it’s about what I’m doing at this company and what we can achieve together, and the beauty of being here in Italy. I think the only other place you can work like this is France. There’s a supreme know-how and a desire to achieve that doesn’t really exist anywhere else. You can’t make clothes like that in America, because it’s just not in the tradition.
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BLANKS: Would you agree that there is a certain ruthlessness about the quest for nothingness? You need to be quite obsessive in your pursuit of it. MAIER: Yeah, it is kind of obsessive, absolutely. But it’s like that for everybody who works on my team. We all have the same drive. Nothing is impossible. Whatever idea comes up, we always try to make it. Sometimes it doesn’t work because it’s just not technically achievable. But you can always make things better, more contemporary with the construction, the inside, the weight, and all of that. BLANKS: I always come back to Alfred Hitchcock with you. It’s a number of things: the foreigner’s point of view, outside looking in, the psychology, which I always find a little bit twisted. . . . MAIER: And the color sense. I look at those movies from time to time, and if you haven’t seen one for a while, say, North by Northwest [1959], that scene in the train compartment, the colors are so fabulous between the man’s suit and the woman’s dress and the upholstery in the train.You know, everything is like [lip-smacking noise of appreciation]. It’s magic. BLANKS: So you like this idea of revealing something unexpected? MAIER: Absolutely. There’s another little vision in my life, going into a restaurant in New York years ago:All the women are sitting in their little strapless dresses with their cleavage, and there’s this one woman in a sleeveless turtleneck and pants. And I can tell you that every man in that restaurant looked at that woman’s arms. It was hypnotizing when everything was covered up. Just the face, the conversation—and you see the arms. And the arms and the hands become an obsession. I like that.
Editorial from ELLE Magazine
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Shows
Tomas Maier’s symbol of what Bottega Veneta is all about—a classy way of carrying on. “It’s never about an age group. I dislike any kind of classification, by skin tone or age—it’s something I detest.” Rather, to be a Bottega customer, “you need to like something quiet” and to be “a little more cultivated about materials” siad Maier.
Shows
Likewise, on his catwalk, Maier conjured a house, all furnished according to his vision of domestic luxury. Models wafted around the perimeter of a show space, past dark leather table settings, green velvet chairs, and sumptuous sofas; a fire flickered in the distance and an important shiny sculpture sat centre stage. The clothes, which combined the men’s and women’s collections, were similarly sympathetic to the same homely aesthetic. - Review of Bottega Veneta AW18 Collection from Financial Times
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Spring 2000 Ready To Wear
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Fall 2000 Ready To Wear
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Spring 2001 Ready To Wear
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Spring 2005 Ready To Wear
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Spring 2006 Ready To Wear
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Spring 2007 Ready To Wear
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Stores
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Bottega Veneta Home store in Milan
In 2017, Bottega Veneta has operated 270 stores worldwide, with Japan rating as the highest store density by country. Source from Kering Brands Key Figures by Luxury Division.
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Bottega Veneta Milan Maison Boutique
Store Concept Design: Creative Director Tomas Maier Store DNA: Neutral and earthy tones with light, airy atmosphere. Inspired and relate to the architectural heritage of its surrounding area.
Situated in an 18th century Italian palazzo, the store looks out onto a courtyard with a fountain and Montorfano stone columns. Typical Bottega Veneta accents like mohair covered furniture and leather details, give the space a modern edge.
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Via Sant’Andrea 15, Milan, Italy
“The restraint and proportion of the Minimalist Spanish Colonial architecture – the lack of colour, the simple complexity of the arches, the choice of stone – all contributed to the facade design and interiors for this Maison.”
Bottega Veneta Beverly Hills Maison Boutique
320 N Rodeo Dr, Beverly Hills, USA
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Creative Director Tomas Maier designed the store to complement Bottega Veneta’s signature aesthetic. The interiors are imbued with warm neutral tones and flashes of metallic. The exterior uses a surrealist design that echoes the brand’s iconic intrecciato weave.
Bottega Veneta Dubai Maison Boutique
The Dubai Mall, Financial Center Rd, Dubai, United Arab Emirates
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The building’s facade replicates the label’s hallmark motif in a composition made of over 900 square panels in silvery metal with a “moon-like” glimmer. Inside the store, a conceptual use of lighting, inspired by the Light & Space art movement of the 1960s, combines with interiors enclosed by inclined panels coated in ‘Kyoto white’ and mineral plaster, blending the local and Italian mode of decoration. Bottega Veneta Ginza Flagship Store
5-6-1 Ginza chuo-ku, Ginza, Japan
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Iconic Products “Each piece resonates within a very precise aesthetic and is conceived to remain an object of beauty for years to come. We don’t follow trends, we set them. We produce timeless items where every detail is thoroughly considered with the individuality and lifestyle of those who appreciate lasting value” said by Tomas Maier.
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And the styles certainly do last. In the house’s signature intrecciato weave, the Cabat, the Veneta and the Knot are the three handbags that have stood the test of time, becoming emblematic of the kind of inconspicuous, logo-free luxury Bottega Veneta stands for. These icons have helped it become the thinking woman’s It-brand, favoured far more by the cognoscenti than the masses.
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The Cabat
Shopping basket-style bag Designed by Tomas Maier and released in 2001 First debut in the Spring/Summer 2002 collection First bag designed by Tomas Maier The Cabat is completely unlined, woven by hand from strips of double-faced leather, and the finished product is completely seamless. What this means is the inside of the bag is just as beautiful as it is on the outside. Utilising a total of approximately 100 leather strips, each of these totes take the Bottega artisans two entire days to complete.
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The Veneta
Hobo bag Stands for the deep commitment of the house for the Veneto region where it was founded in 1966 The Veneta is handcrafted in soft leather bag using the trademark intrecciato technique. Studied dimensions make it practical and lightweight. The curved, seamless style is finished with a concealed zip closure, woven contours and multifunctional internal pockets.
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The Knot
Clutch Designed by Tomas Maier and released in 2001 First debut in the Spring/Summer 2002 collection “The Knot is a one of Bottega Veneta’s signature pieces, offered each season in limited editions and quantities that make it a collector’s item, while always maintaining its iconic shape. Recognized and collected for its unique design, unrivalled quality and individual style, the Knot is a symbol of the company’s past as well as its future. For me personally, it is a continuous opportunity for a special kind of creative exploration.” said Tomas Maier.
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The brand’s most iconic person - Tomas Maier, who also has his own brand under his name, joined Bottega Veneta in 2001, and helped it gain better footing.
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Tomas Maier
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“Mr. Maier, spare in both ornamentation and explanation, pared back the fashionable excesses of Bottega Veneta’s preceding iteration.” 1990s was theage of “It” bags. That was the time when Mr. Maier came up with the design of the best-selling bag Cabat. With the logoless but timeless design, it gain popularity without shouted with labels. As the brand’s motto put it, Bottega Veneta is for “When your own initials are enough.” Fashion insiders are amazed by its woven “intrecciato” Mr. Maier’s hard word got return by significant sucleather technique, while anyone else may easily cess. In 2012, Bottega Veneta joined the $1 billion be mystified. revenues club for the first time. Revenues since have fluctuated, and Bottega Veneta was edged out “It’s largely due to Tomas’s high-level creative deof the second-place slot in Kering’s luxury portfolio mands that Bottega Veneta became the house by the re-energized Saint Laurent. it is today,” François-Henri Pinault, the chairman and chief executive officer of Kering, said in a In 2017, Bottega Veneta reported more than 1.17 statement. “He put it back on the luxury scene billion euros in revenue (about $1.38 billion at and made it an undisputed reference. With his current exchange rates), putting it third in revecreative vision, he magnificently showcased the nue among Kering’s luxury portfolio, which also expertise of the house’s artisans. I am deeply includes Balenciaga and Alexander McQueen. grateful to him and I personally thank him for the work he accomplished, and for the exceptional Mr. Maier designed ready-to-wear collections as success he helped to achieve.” well as accessories and furniture for Bottega Veneta — Naomi Watts, Amal Clooney and Kristin Scott In 2001, Bottega Veneta was acquired by KerThomas have all worn it within the last 12 months ing Group. Mr. Maier was appointed to oversee — but its strongest business is in leather goods, everything, including the design of the products, which account for 85 percent of its revenues. the architecture of the stores and the brand’s image — “anything,” as he told The New Yorker for Even in a time of constant designer departures and a 2011 profile, “that involves creative.” arrivals, Mr. Maier had retained his place at Bottega Veneta. In an age of three-year contracts, he has been with the label for 17 years, and eventually felt there should be a new chapter for Bottega Veneta. No matter what the new chapter will be, Mr. Maier will forever be a pioneer and milestone for Bottega Veneta.
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Customer Relationship Management (CRM) For over 140 stores and the online services, over 1500 people are employed by Bottega Veneta according to customers.
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On the website of Bottega Veneta, customers can get in touch with the brand via email, phone or online chatbot. -Phone service and chatbot are available Monday through Saturday, 9 am to 9 pm. -Email inquiries are within 24 business hours, Monday through Friday. The Bottega Veneta Client Advisors are also available to arrange a personalized appointment at the boutique for the customers. The appointment can be made online or in store. Bottega Veneta also provide a very clear and worry-free return policy. To make sure customers are completely satisfied with their purchases. Any unused products can be returned within 20 days of the date of purchase. Customers who have enough purchase records and build a long relationship with the brand will also receive special treats and gifts on birthday or holidays. According to several review websites, the overall reviews for Bottega Veneta store customer service are great. “Patient”, “Friendly” and “Helpful” frequently popped up in the description of customer’s experience.
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Corporate Social Responsibility (CSR)
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Bottega Veneta - TRANSPARENCY IN SUPPLY CHAINS Sources: Bottega Veneta Official website
Bottega Veneta has taken steps to evaluate the risks of forced labor in their supply chain. Within Bottega Veneta, procurement falls into two broad categories: (1) sourcing of raw materials such as gold, diamonds, precious stones, textiles, and leather; and (2) procurement of other types of goods and services to support the day-to-day running of our operations, such as energy, manufacturing, and office equipment. Although the social impact of the goods and services that Bottega Veneta purchases often lies outside our direct control, where possible, they have taken proactive steps to ensure the absence of slavery and human trafficking in our supply chain.
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Bottega Veneta is part of Kering (formerly “PPR”), which has certified several of its businesses under Social Accountability International’s (SAI) SA8000 standard. SA8000 sets out a strong approach concerning forced labor and provides guidance to suppliers and business partners regarding responsible sourcing. SA8000 includes an endorsement by the International Labour Organisation (ILO) Conventions and the Universal Declaration of Human Rights. Among other things, SA8000 specifically forbids the use of forced or involuntary labor as defined in ILO Convention 29, including employment of people under the age of 15, unless a higher age is required by law, in which case the higher age applies. While several of Kering’s businesses have certification under SA8000, Kering continues its commitment to bring all of its businesses into compliance with SA8000 and obtain certification. As part of SA8000, Bottega Veneta’s suppliers, subcontractors and subsuppliers will be required to make a written commitment to all SA8000 requirements, participate in monitoring activities as requested by Bottega Veneta, promptly resolve any nonconformance with SA8000, and notify Bottega Veneta concerning any relevant business relationships. Moreover, by virtue of our adherence to SA8000, Bottega Veneta will be subject to announced and unannounced audits to determine compliance with the SA8000 standard, and Bottega Veneta’s suppliers are subject to the same process. Kering’s standard supply agreements already refer to and adopt the SA8000 requirements, obligating its suppliers to comply with the standard. The businesses of Kering also often use several of the same suppliers, subcontractors and subsuppliers, so to the extent that certain businesses of Kering are already certified, other businesses of Kering that are not yet certified have been well positioned to be in compliance with SA8000 and obtain formal certification.
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Bottega Veneta also addresses slavery and human trafficking through our involvement in the Responsible Jewellery Council (RJC). The RJC was established in 2005 to promote responsible ethical, human rights, social, and environmental practices in the diamond and gold supply chains. Bottega Veneta became a member in May 2010. As a member, Bottega Veneta has committed to efforts to address slavery and human trafficking and is subject to RJC audits concerning its own compliance. Many of Bottega Veneta’s suppliers are also members of the RJC and complete their own RJC certification. RJC has grown to include some 300 members since its founding, from miners to retailers. Additional information on RJC can be obtained here: www.responsiblejewellery.com Bottega Veneta’s internal policies also articulate its determination to rid its supply chain of human trafficking and forced labor. For example, Bottega Veneta’s Code of Ethics states that its businesses will not tolerate child or forced labor in the production of its products. Bottega Veneta expects and depends on our managers and employees to uphold a zero-tolerance policy regarding forced labor. As such, Bottega Veneta has taken steps to increase employee awareness and compliance regarding slavery and human trafficking issues. Kering’s Code of Ethics is provided to all employees and suppliers. Employees are encouraged to report violations of the Kering Code of Ethics. Moreover, as part of SA8000 certification, the standard will be displayed at business locations to inform personnel about Kering’s voluntary commitment to this standard and its requirements. Kering will provide a confidential way for Bottega Veneta personnel to report non conformance with SA8000 to management and, where appropriate, Bottega Veneta provides and requires specific training programs regarding supply chain issues.
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Political factors: Even though most material suppliers are Italian leather vendors, with stores all over the world, Bottega Veneta ships and distributes their products worldwide. This requires them to extend international supply chains and follow political procedures when selling products online. The company also uses political forces as a method of intervention of counterfeit products. Each country abides by their own taxation system. Bottega Veneta is required to abide by these rules for each sale and each product distributed overseas. To trade globally Bottega Veneta must follow these laws: -International trade agreements -Product safety laws -Labor laws -Consumer safety product regulations
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Economic factors: Bottega Veneta, as a luxury brand, is targeting a relatively wealthy, their business plan of selling highly priced products seems to work during the past decade. And due to the continuous growth of economy, their market were gradually expanding. However, from 2018, many regions in the world have seen a slower growth or stagnation in economy, which may lead to that people have less money to put towards fashion and accessories. People who are low-income or live in an area with a high unemployment rate, need their income to go to survival staples like food and rent. The big economy challenge for Bottega Veneta is the same for the luxury industry: Is another financial crisis on the horizon?
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Social factors Public Relations has never been more relevant than today. The controversies of Dolce & Gabbana and Burberry in Chinese market recently reflected people’s desire of feeling culturally respected and understood. Also, in the world of digital age. it’s more likely to be caught if brands use design and ideas from others inappropriately (diet_prada). Therefore, for a wider development, it’s important for Bottega Veneta to keep original and also diverse. Celebrate the traditions and heritage by including more different communities and groups in the society.
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Technology Factors: Technology gives companies the ability to innovate in so many different ways. From interacting with customers to designing products, technology provides value to brands just like Bottega Veneta. Here are some of the Technological factors affecting it: Social media allows things to blow up or whittle away faster than ever. At this moment Bottega Veneta is still discovering the full potential of utilizing internet and social media to get more exposure, build brand identity, and reach to the target audience. But it can be a double-edged sword if used incorrectly. Bottega Veneta also gets the opportunity to use valuable information based metrics thanks to technological advances, allowing for them to optimize targeting and production, and maximize revenue.
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Environment Factors: Environmental issues are of ever-growing importance. With more than 80% of leather goods, Bottega Veneta’s mass production may not harm environment as much as people anticipated. With most of the leather coming from food industry, Bottega Veneta does not kill extra animals just for the leather. However, this fact needs to be revealed to the public as the trend today is to against animal products, ignores that synthetic fur and plastic would cause way more damage to the environment . As long as not using exotic fur and leather, Bottega Veneta’s product does not affect the environment.
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Legal Factors: Bottega Veneta has design patents, defending their right against copiers and infringement. The patents also serve as legal protection to end counterfeit businesses. In 2013, Bottega Veneta also granted Trademark for its Weave Design. However, there is a limited scope of this protection: Bottega Veneta’s weave design trademark only extends to “identical or nearly identical” designs comprising the elements listed in the description of applicant’s mark. Thus, bags and/or shoes that have a “horizontal” weave, or are not made of leather or materials that simulate leather, or have strips that are much wider than 8 to 12 millimeters, or have a weave pattern on only a portion of the product, or have a weave that is not a plain weave, are not affected by Bottega Veneta’s trademark.
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Competitive rivalry - High
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Bargaining power of suppliers - Medium
3. 4. 5.
The competition for leather good in the fashion market now is high. While the luxury giants are expanding to take more market, a lot of new brands are entering the market every year. Bottega Veneta’s core value: fine quality and classic aesthetics are being challenged. Without a distinguish brand identity, it is very easy to lose customers to other competitors.
Limited number of quality suppliers with strong reputation. If we are aiming to the effect “Made in Europe�, combined with high demand for good raw materials with low profitability. Relative low switching costs because of a regular flow of new designers and brands, even with big names might represent high valums. Change of suppliers may lead to different quality perceptions in consumers mind.
Bargaining power of customers - High
Bargaining power of customers is high as this moment, as Bottega does not have a very strong brand identity and represent a distinctive lifestyle. Customers who buy the product just for the fine quality will be easily switch to other alternative brands.
Threat of new entrants - Medium Bottega Veneta does not have a signature bag at this moment, which is easier to get replaced by other leather brands focus on fine material and Italian heritage. However, the leather-waving techniques for Bottega is unique, which differentiates Bottega Veneta from other entrants.
Threat of substitute products or services - High Bottega does not have a very strong brand identity and represent a distinctive lifestyle. Customers who buy the product just for the fine quality will be easily switch to other alternative brands.
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Analysis Two
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Vision The name Bottega Veneta is synonym of outstanding craftsmanship, highest quality materials and contemporary functionality. Upon the products, there are the Italian leather heritage and German discreted philosophy.
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Mission Bottega Veneta provides the highest quality products in the quietest way. With the logoless design, your initials and professionalism come before the brand identity.
Values Quality Functionality Discretion
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Target audience: The target audience for old Bottega Veneta are a group of people who value classy over anything else. They are not trend followers, and do not seek the limelight.They like to hide their spikes in order to fit into the society. They value quality and functionality the most, and would stay away from any unorthodox design.
Technology: The technology is craftsmanship. Started with leather goods and the unique interwaven technique, craftsmanship is what the brand’s famous for, as well as the core competency.
Occasion of Use: For the old Bottega Veneta, the most common occasion of use is Business. The old Bottega Veneta does not have a very strong brand identity, which suits the taste of business people who needs to stay low-key but still favor good quality and brand heritage. The old campaigns and communication strategies reinforced this perception that using Bottega Veneta is an appropriate way to demonstration taste and career sucess for business professionals.
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3D Business Model
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Portfolio Analysis / BCG Matrix
Also known as: Four-Field Matrix, Boston I Matrix
Each company has different business units that meet specific goals and require specific resources. With the help of a portfolio analysis (BCG matrix) it can be determined which strategies and investments prove to be useful for which products.
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Question Marks: Seasonal Collection The Question Marks are defined by having a high market growth but a low market share. Its unclear what will happen as every season is given a new opportunity with an open end. The decision whether to increase investment or not depends on the overall feedback of the customer in relation to the brand. In case of Bottega Veneta this is meant to be the Seasonal Collection. Next to Ready-to-Wear we also include the seasonal Designs of the leather Goods who come with it. Of course there is no option not having a seasonal Collection. Mainly the decision could be made between less pieces or a higher production order of it. As nowadays the brand loyalty isn’t strong its all about the right presence of the Brand at the launch of the product.We think the Marketing and Image positioning are for the seasonal collection very important to succeed. If the marketing is missing the chance to attract die attention people don’t buy.
Stars: Shoes The Stars are defined by having a high market share but a low market growth. In general the expectation is high as they always doing well, which gives new opportunities for the brand due every season. As the Stars we define the Shoe Segment of Bottega Veneta. With a 7% they are the second highest category which gives space to rethink this part of the cashflow every season in a new way. One of the most famous products is the leather shoe „Chelsea-Boot“ for men.Shoes are part of the less expensive segment of the luxury House. Between 400 to 900 Euro Customers can own the brand. The classic, timeless design of it leads the Brand to the opportunity to play with this specific design and create it in a new way every season.That, but also because shoes are are mostly regular used product make the customer buy it again and again.
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Cash Cows/High Performance: Leather Goods The Cash Cows or High Performance are defined by having a high market share but a low market growth. They are doing well in no growth market with limited opportunities. The leather goods which includes the bag, small bags and leather accessories are the highest selling segment at Bottega Veneta and therefore the most important. With their basic collection and seasonal designs their not only keeping their identity strong but also perform continuously with a high quality of material. The Brand is based and known for their leather goods. By analyzing the numbers (85% of sales only Leather Goods) its clear that they kept succeeding with this particular USP.
Dogs: Ready-to-Wear The Dogs are defined by having a low market growth and a low market share. They are weak in the market and the most difficult segment to make profit with. In 2017 5 % of the whole sale was made by the ready-to-wear. Looking at the sale season and comparing with other luxury houses the number could be much higher. We are looking forward to the new collection and its sales numbers of Daniel Lee. Experts looking forward to a growth between 5-10 % of the clothing sale.
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Due to our research, the following division can explian the global revenue share of the Bottega Veneta products from 2015 and 2017 by product category:
Data from Statista
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Strategic Group
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The strategic group map illustrates different luxury brands that are known for their leather goods. The X-axis represents self confidence, which means the brand doesn’t use well-known faces for their campaigns or got inspired from famous stories, myths and other references for their communication. To put it simple, brands with higher self confidence are bold and strong enough to communicate only with their creative ideas and concepts. The Y-axis represents strength of identity, brands with higher strength identity tend to be more well-known and even beloved world wide. Our ultimate goal is to raise the awareness of Bottega Veneta, to push the brand upper on the Y-axis(the strength of identity) of the strategic group map, and remain the X-axis(self confidence) as Bottega Veneta is already doing pretty well.
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Fashion Bubble (Positioning Map)
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What is it that defines the brand or its product? In this part the key differentiators due to our survey (from a consumers perspective) and the fashion industry perception are listed. In our sketch we are analyzing the positioning of brands within the luxury goods market segment. For categories for this market segment we look at six of the most common customer purchase factors; Luxury, Exclusivity(offline/online), Quality(Ready-to-wear/Leather Goods), Tradition, Strength of Identity(offline/ online), Service(offline/online).
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Fashion industry perception comparing Bottega Veneta with the 5 official competitors in fashion industry by numbers
Why we have chosen those brands?
The Brands been selected due the economy research and meaning of experts we found online. As part of the so-called Maier-Time Bottega was positioned around these brands. Identifying the category position we have chosen a scale of 1 to 5 (with 1 close to the center being “very low” and 5 far from the center being “very high”) what is the consumer perceived value for each category.
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Positioning Evaluation Graph: “Response of the Survey“ Is about the survey perception of people without a direct touch to Fashion Industry. We created a positioning landscape with focuses on the Brand Bottega Veneta. Comparing the 5 most liked brands out of 14 options which where given on a survey to about 200 people worldwide. For our example the full set of brands listed from less to more are: Zegna, Brunello Cuccinelli, Armani, Salvatore Ferragamo, Bottega Veneta, Balenciaga, Prada, Loewe, Hermes, Dior, Gucci, Louis Vuitton, Celine, Chanel. The winner had been chosen as the following: Chanel, Celine, Louis Vuitton, Gucci and Dior
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Brand Identity Prism
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trengths -Heritage in art and architecture -Strong brand recognition in Asian countries -High popularity / population in small leather goods market -Outstanding craftsmanship and leather-weaving technique (Intrecciato)
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eaknesses -Weak popularity in European countries -Unbalanced numbers of stores in markets -Weak popularity among younger generations -Overuse of intrecciato leather technique on products -High sales / profit dependance on small leather goods category -Non-interactive communications on major social media sites (Facebook, Instagram)
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pportunities -Expanding into emerging markets -Financial support from Kering group -Take the niche market left out by Celine -Investment in art circles and related events
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hreats -Rising costs and scarcity of raw materials (Leather) -Growth estimate decreases (Was the second profiting brand under Kering, now the third)
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Bottega Veneta’s School Of Masters Pellettieri
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Artisans at work at Bottega Veneta’s atelier in Montebello
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