Lights, Camera, Move!

The Weave Saga

Art and fashion meet again and this time Bottega Veneta comes out with an interesting series of moving images for their latest Spring/ Summer 18 campaign, The Art of Collaboration. Creative director of the House, Tomas Maier tells us about the idea behind the campaign and gives an insight into the content of the six short films series Reflection.


The new ad campaign for Spring/Summer 2018 consists of six distinct short films under the name Reflections. Why did this cinematic approach make sense for BottegaVeneta?

When you are shooting a campaign, there’s a desire to tell more of a story. You are in aninterestingenvironment with great talent, and the wheels start to spin. Who is this woman? What’s the man doing there? Whose house is this? Film now allows us to take the story further. To me it is always more interesting when a film ends and the plot could go one way or the other. It’s open to interpretation.


There is a very noir and surreal quality to the films. What’s the connection to the Spring/Summer collection?

These films have layers and depth. They’re not easily categorized. The Spring/Summer collection features garments thatare the same way. You can’t just say, ‘Oh, it’s workwear. Oh, it’s for cocktails.’ These pieces can go in so many different directions. That’s how I see my client as well.


The title of the campaign is Reflections, which can also be interpreted in many ways. What does Reflections mean to you?

To me,it means that each person interprets the films in their own way. We like it when people make something their own. It goes back to the individuality of the clothing and to our motto “When your own initials are enough.”


You’ve known Fabien Baron for a long time but are working with him for the first time on the Spring/Summer 2018 campaign. What convinced you to collaborate?

 Fabien has attended the BottegaVeneta show every season for a long time. When he comes backstage, he always has something interesting to say. Obviously, he has a great reputation and we all know his body of work. I like that we have a similar approach. I believe that every millimeter matters, and with him, there is so much precision. Everything is considered.


The models in the six films of Reflections play a crucial role—more as actors than models. How did you approach the casting? 

We’ve worked with Vittoria [Ceretti] for such a long time. She’s a young Italian woman who is beautiful, smart and stylish. She’s the perfect embodiment of Italian luxury. Janis Ancens has walked in many of our shows. He’s modern but has a natural elegance. You can put him in the clothes and he brings them to life. I like Sora Choi becauseshe can put on a look and really make it her own, just as Aube [Jolicoeur] who is striking and has a lot of presence. I also likethat they come from around the world: Korea, Latvia, Italy, Haiti. It’s very much us.


In the new campaign, you were working with a team of collaborators—along with Fabien as director was set designer Stefan Beckman and cinematographer Philippe Le Sourd—and not just a single creative voice. Did you find it to be very different?

I think it’s nice to work with a team. It’s always five or six people in the room when I’m working. It’s good to have different points of view. At the end, someone needs to make the decision but collaboration is about multiple people bringing something to the table.


Can you speak about the Art of Collaboration in its original form as conceived by you in 2002—working with a different fine-art photographer each season. What do you see as its legacy?

I think we talked to a lot of different people and we also did it in a different way. 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—since these striking moving images can exist on so many platforms—will bring the same dynamic, just in a different way.


Film Mirragio - from the series Reflections



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