Glass reviews Daniel Lee’s debut Pre-Fall 2019 Collection for Bottega Veneta

THE scene is set in Milan for British designer Daniel Lee, as his first collection for Bottega Veneta takes centre stage. A newcomer to the spotlight, Lee is still fresh from his Celine departure in July, where he spent time under the wings of Phoebe Philo. But will his time spent at the iconic French label have influenced his debut?  

From the very outset, the collection is based on intimacy. No catwalk – not even Lee himself – was present at Milan’s Museum of Design & Technology, the designs simply spoke for themselves, a conversation between viewer and clothing. This collection focuses not only on where Lee is going to take Bottega Veneta, but on what he believes the brand symbolises today. 

Bottega Veneta Pre-Fall 2019 Collection

This collection lays the foundation through classic silhouettes and shapes interwoven with personality and integrity – essential to the brand. The clothing is relaxed yet formal, simple yet exciting. Lee summarises it perfectly, as he muses, “I like real clothes. I think there’s a need for a return to elegance and sophistication.”

In many respects, the colour palette and feel of the collection is irrefutably Celine inspired. The collection is refreshing in its modernity, with contemporary silhouettes gently warmed by warm fabrics and silken materials. Sharp, tailored outerwear is softened by scooping necklines. Soft, feminine shapes are toughened by square-tipped heeled shoes and oversized bags.

As for the men’s, it has clearly received the confident and cool memo. Looser lines relax the formal feel of sharp suit jackets and tailored trousers and pops of colour ensure a wearable side to the cool palette.  

Daniel Lee had particularly large shoes to fill as he succeeded Tomas Maier’s 17 year reign at the helm of the Kering-owned brand, but it seems his past has prepared him well for his new endeavour. Lee’s Bottega inspires both confidence and calm, with clothing both luxurious and wearable – and very much his own.

by Lucy May McCracken

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