{"id":316586,"date":"2026-03-01T17:21:09","date_gmt":"2026-03-01T17:21:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/316586\/"},"modified":"2026-03-01T17:21:09","modified_gmt":"2026-03-01T17:21:09","slug":"bottega-veneta-ready-to-wear-aw26-10-magazine","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/316586\/","title":{"rendered":"Bottega Veneta: Ready-To-Wear AW26 – 10 Magazine"},"content":{"rendered":"

On a red carpet runway in Milan, Bottega Veneta<\/a> staged Louise Trotter<\/a>\u2019s sophomore outing \u2013 and it felt assured.<\/p>\n

Trotter doubled down on house codes, especially the Intrecciato weave, which celebrates its 50th anniversary this year. It climbed leather coats, wrapped collars and interrupted pleated bodies. An exceptional black silk satin and leather jumpsuit shifted from tight pleats into woven panels; a long black coat did the same, its sharply pleated torso seemingly dissolving into a woven collar. The workmanship was relentless \u2013 one hand-woven leather cape alone reportedly clocked 4,000 hours.<\/p>\n

The opening was controlled and structured. A largely black palette was cut with jolts of cobalt, camel, butter yellow and a dense blood red. Tailoring had that austere-but-voluptuous balance: rounded shoulders, a subtle hourglass, semi-skinny trousers on boys with thin knits layered over shirts, one collar half-popped. Asymmetrical midis were cinched off-kilter; brushed mohair knits \u2013 including a red V-neck tank dress \u2013 had real heft.\u00a0<\/p>\n

Irina Shayk<\/a>\u2019s look distilled it perfectly: a mid-calf grey wool coat with exaggerated rounded shoulders and a deep, sculpted lapel plunging almost to the sternum. The line narrowed cleanly through the waist before falling straight, pockets set slightly low and wide to skew the proportion.<\/p>\n

Things shifted then. Faux fur and feathery fabrics swished in \u2013 shaggy leopard, tiger-striped yellow and white, ice-white dresses blooming with what could have been tiny black flowers. A shimmering blood-red twinset on Mariacarla Boscono<\/a> dialled up the drama.<\/p>\n

Then came the fiberglass. Trotter and the artisans have been experimenting with recycled strands, and this season they pushed it further: furry chubbies and boxy coats in shimmering black and electric cobalt that looked almost lit from within. The surface had a strange, glossy halo \u2013 not quite fur, not quite plastic \u2013 and it moved with a shudder and swish that felt deliberately theatrical. A salmon pink version softened the effect; a short-sleeved black dress paired with a floofy red hat made it feel almost Studio 54.\u00a0<\/p>\n

There were nods to house history too \u2013 the Lauren bag, famously carried by Lauren Hutton<\/a> in American Gigolo \u2013 alongside white shirts and single-lapel tuxedos.<\/p>\n

It started out controlled, almost severe. It ended with shimmer, fluff and bounce. Brutalism, softened \u2013 then turned up.<\/p>\n

Photography courtesy of Bottega Veneta.<\/p>\n

bottegaveneta.com<\/a><\/p>\n