Skip to main content
BoF Logo

Agenda-setting intelligence, analysis and advice for the global fashion community.

A Radical Reinterpretation at Bottega Veneta

Daniel Lee ushered in a highly anticipated new era at the label. The result was awkward, heavy, dark and dystopian.
By
  • Tim Blanks

MILAN, Italy — It seems like an age since unknown quantity Daniel Lee was ushered in to a new era at Bottega Veneta, superseding Tomas Maier's transformative 17 years at the helm. There was a pre-collection that wet fashion's whistle, but Friday's catwalk unveiling was the real main event. And wouldn't you just know that anticipation is the sternest taskmaster of all? Lee himself looked so drained, so hunted after the show that a mere hello felt cruel.

Understandable. Maier built a world of peculiar psychological depth at Bottega. Yes, there was the luxury of the beautifully crafted accessories. The intrecciato bags! But there were also clothes that expressed a very peculiar, very particular worldview, distilled from decades of film noir and Hitchcock and the brittle social interactions that intrigued Maier. Where did that leave Daniel Lee? Would he acknowledge or would he reject? The opening look — black leather dress, portrait neckline — felt like some kind of common ground, a transition. Then Lee launched his radical re-interpretation of BV. Bye-bye film noir. Hello, The Matrix, complete with gigantic, stomping boots to kick your way into the future.

It was awkward, it was heavy, dark and dystopian. Intrecciato exploded, leather quilted in defence or tiled in odd articulation, dissected knitwear, clumsy silhouettes that nipped waists and pushed shoulders back. And all the time, trousers tucked into those boots, the footwear of militant young men and women. The grim, blunt-toed high heels were scarcely an alternative. Lee came to BV vaguely wreathed in his stint at Celine, a label which is, in the light of subsequent developments, already a misty hinterland of fashion myth. There has been some speculation that BV might scoop the old Celine business. Pardon me if my brow knits into a Botox-proof groove at that notion, on Friday’s evidence at least. Poor exhausted Daniel Lee said that all he wanted to do is make beautiful clothes. Let’s step back, take a deep breath and give him the benefit of the doubt.

In This Article

© 2026 The Business of Fashion. All rights reserved. For more information read our Terms & Conditions

More from Fashion Week
Independent show reviews from fashion’s top critics.

Question Time in Paris

It’s not an existential crisis — yet — but Rick Owens and Daniel Roseberry confront some headscratchers in their latest collections.


Clash of the New Titans

Haider at Tom Ford, Pieter at Alaïa, comings and goings in fashion, and Nico at Courrèges coming up fast, all of it leading to a day of dynamic fashion in Paris, writes Tim Blanks.


Paris Day Three: Variables and Constants

One of the busiest days of Paris fashion week featured a hello at Balmain, a goodbye at Alaïa and variations on signature visions at Courrèges, The Row, Dries Van Noten and Tom Ford.


view more
Latest News & Analysis
Unrivalled, world class journalism across fashion, luxury and beauty industries.

Question Time in Paris

It’s not an existential crisis — yet — but Rick Owens and Daniel Roseberry confront some headscratchers in their latest collections.


Can Big Luxury Find Its New Look?

Sex sells — if anyone can figure out what sexy means in 2026. Robert Williams tracks the search for a new silhouette at Kering’s Gucci, LVMH’s Dior and more.


VIEW MORE
Agenda-setting intelligence, analysis and advice for the global fashion community.
CONNECT WITH US ON