Thomas Mayer leaves BOTTEGA VENETA
The creative director of Bottega Veneta brand Thomas Mayer leaves his post. During his time at the Kering conglomerate belonging to the conglomerate, Mayer revived the brand’s former glory from the 1970s, forming a style of democratic luxury, with 40’s and 50’s Hollywood style retro-motifs.
“Bottega Veneta owes Thomas the kind of high-end brand he has become today. Thomas revived the former glory of the fashion house, returning it to the luxurious segment. With his creative vision, he sent the masters of the house wisely. I am deeply grateful to him and personally I thank him for the work he has done and for the exceptional success that the brand has made with him, “said Kering founder François-Henri Pinault.
In the fashion world, they are already discussing who will take the place of Thomas. It is possible that the creative director will be Phoebe Faylo, who left Céline at the end of December, or Craig Greene, previously named the best British designer of men’s clothing for the BFC version.
The brand, which was famous for bags with weaving intrecciato in the 1970s, in the nineties lost its former glory. And if before, the favorite client of Bottega Veneta was Jackie Onassis, and Andy Warhol worked on advertising campaigns of the brand, then in the decade of general logomania, the simple design of the Italian House was clearly losing. Then the brand bought the influential conglomerate Gucci Group and in September 2001 Tom Ford invited the post of chief creative director Thomas Mayer, who pulled Bottega Veneta out of fashionable oblivion.
The first thing Thomas did to revive the brand was to restart the legendary Cabat bag, this is a rectangular shaped model with short handles, made just with the famous intrecciato leather weaving. Despite the fact that the bags are woven by craftsmen manually, and their price is high, between 2001 and 2011, Mayer increased the sale of the bag by 800%.
Working in fashion and not be a control freak with increased attention to detail is almost impossible, but Mayer in this case has surpassed many. Once in The New Yorker, he told about the imperfect design of saucers in the Milan hotel Bvlgari, from which the spoon slides, just barely raise the cup. It’s simply impossible to drink coffee in Bvlgari, according to Mayer. The office of the designer is completely white, there is not any hint of decor, except for a couple of minimalistic paintings. In his opinion, the excess entourage distracts from work. And from his own name, he removed the annoying letter h.