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When it comes to the representation of female artists in Asia, current figures make dismal reading. According to the latest art market report compiled by the economist Clare McAndrew, published by Art Basel and UBS earlier this month, just 19% of artists in Asian galleries are women-6% fewer than the global average.

The South China Morning Post recently reported that men accounted for 80% of solo exhibitions among the 26 most established contemporary art galleries in Hong Kong last year. Meanwhile, our listings of exhibitions in Hong Kong this week reveal that there are no solo shows of female artists in public institutions, and only 11% of commercial gallery exhibitions are dedicated solely to women.

At Art Basel in Hong Kong (ABHK) last year, the US-based activist collective the Guerrilla Girls revealed that 76% of artists showing at the fair in 2017 were male. This year, it seems that efforts are being made to redress the balance. Nowhere is this more evident than in the Encounters section, where 12 large-scale installations dominate the halls, four by women, three of whom are Asian. The section's curator Alexie Glass-Kantor says she "strongly urged and encouraged" galleries to submit proposals by female artists, noting that there has been a 30% rise in the number of applications by women over the past five years.

"It's about being ethically accountable and representing the diversity of the world in which we live. As a cultural leader, you have a responsibility to demonstrate standards that should be adopted across the sector," Glass-Kantor says.

Prime spots at the entrance of the fair have been given to the Korean artist Lee Bul's imposing silver zeppelin, Willing to be Vulnerable-Metalized Balloon (2019, priced upwards of $200,000) and the Japanese artist Chiharu Shiota's labyrinthine yarn sculpture, Where Are We Going? (2017-18, €350,000, on hold to an Asian institution). Nearby, the Thai feminist pioneer Pinaree Sanpitak's maze-like work, The Walls (2018-19), crafted from sheets of handmade paper hangs from the ceiling ($200,000). Meanwhile, the Moroccan-born artist Latifa Echakch is presenting her fallen theatre canvas, La dépossession (2014).

Elsewhere, several dealers are presenting female solo shows as part of Insights, the section dedicated to solo and curatorial projects by artists from Asia and the Asia-Pacific region. They include the Shanghai-based Don Gallery, which has a selection of paintings by the Beijing artist LI Shan, and Gallery Baton from Seoul, which is showing copper sculptures and a teak wooden structure by the Korean-American artist Jinnie Seo, priced between $10,000 and $30,000.

Seo says that being under-represented "is a challenge", but that she is "very comfortable in the male-dominated field" of monumental sculpture in which she usually operates (she is currently undertaking a commission for the New Stanford Hospital in California).

Si Young Hur, a partner at Baton Gallery, attributes the creeping movement towards parity in the art world as reflective of wider societal changes. "The #MeToo movement has now taken off in Asia, especially in Korea," she says. "We have seen changes at every level: politically, socially, culturally."

Korean and Taiwanese women are also making their mark at the Venice Biennale this year; Shirley Tse will become the first female artist to represent Hong Kong at the event, which opens in May.

A new generation of Asian female digital media artists are also breaking the mould, shunning traditional family roles in favour of more globalised lifestyles. Lu Yang, who is showing with the Berlin gallery Societé at ABHK; Miao Ying, who was recently commissioned by the M+ museum; and Ma Qiusha and Ye Funa are among the rising stars whose work often exists in the gender fluid space of the internet. "By living on the internet, you can abandon your identity, nationality, gender, even your existence as a human being," Lu told the New York Times in 2015.

Societé declined to give prices, but the Belgian collector Alain Servais, who was making enquiries about Lu's work during the VIP opening on Wednesday, observes that the price gap between emerging male and female artists is becoming less evident.

Of course, inequality is not only a problem in Asia. Monika Sprüth, the co-owner of Sprüth Magers gallery, has brought her all-female Eau de Cologne exhibition to a pop-up space in Hong Kong's H Queen's (until 12 April). The original shows, which took place in Germany between 1985 and 1989, featured some of the most outspoken female artists of the time, including Cindy Sherman, Barbara Kruger and Jenny Holzer.

"I thought the exhibitions were historically overdue back in 1985; I did not expect to be here nearly 35 years later," Sprüth says. Her reason for bringing the show to Hong Kong? "I wanted to introduce a younger generation of female Asian artists to this story and inspire confidence, as these women did."

In recent years, there has been a surge of shows dedicated to women, but Sprüth suspects an element of jumping on the bandwagon. "After #MeToo, the bigger galleries don't dare to not show women artists," she says.

The market for female artists is certainly heating up in Asia-albeit in many instances for Western artists. This week, shows by Louise Bourgeois at Hauser & Wirth (prices from $250,000 to $4m) and Mary Corse at Pace Gallery ($300,000-$650,000) sold out on the opening day. The majority of all works went to Asian collectors.

But, as Art Basel's global director Marc Spiegler says in McAndrew's art market report: "Women still score a tiny proportion of the market's top sales. And when it comes to the critical question of representation by major galleries and even in the exhibition landscape, the analysis shows that men still dominate, markedly."

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Fair share: parity for Asia's female artists gains ground at Art Basel in Hong Kong

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When it comes to the representation of female artists in Asia, current figures make dismal reading. According to the latest art market report compiled by the economist Clare McAndrew, published by Art Basel and UBS earlier this month, just 19% of artists in Asian galleries are women-6% fewer than the global average.

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Velvet Buzzsaw | Official Trailer [HD] | Netflix

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Enemy Official Trailer #1 (2014) - Jake Gyllenhaal Movie HD

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Contemporary Art's Most Influential Cities

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There are many ways to take stock of influence in the art world-critical reception, popularity, and market prowess are among them. As the art world co...

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Bottega Veneta has seen great success ever since appointing Daniel Lee as its new Creative Director. Following the Pre-Spring 2020 collection, the luxury house now introduces its latest Fall/Winter 2019 campaign.

Shot by Tyrone Lebon, the beautiful blue sky and broad horizon of Joshua Tree, California, are set in the background. Models are spotted posing in front of a golden car and are dressed in pieces like a metallic shirt dress. Overall, the collection embraces polished and elevated looks by using structural and clean cut materials. "Strength, sensuality, being in the moment. Bottega Veneta is about defining a point of view, a new way of seeing subtle individuality, and then subverting that status," Daniel Lee stated in a press release.

Scroll through the gallery above to peep Bottega Veneta's FW19 collection. While you're here, make sure to check out Balenciaga's Winter 2019 campaign.

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Daniel Lee Taps Tyrone Lebon for Bottega Veneta's FW19 Campaign

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Bottega Veneta has seen great success ever since appointing Daniel Lee as its new Creative Director. Following the Pre-Spring 2020 collection, the luxury house now introduces its latest Fall/Winter 2019 campaign. Shot by Tyrone Lebon, the beautiful blue sky and broad horizon of Joshua Tree, California, are set in the background.

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In just 12 months, Lee has turned this Italian classic brand into the name every fashion buyer is talking about, and it's certainly translating into sales and demand. It's almost impossible to track down a pouch bag or the square-toe mules. According to global fashion search engine Lyst, searches for Bottega Veneta are up 71% quarter on quarter, with the bags and clutches being the leading category, followed by flat shoes.

For an indication of quite how excited fashion buyers are by this new Bottega era, look to MyTheresa Fashion Buying Director Tiffany Hsu's Instagram-she wrote that the retailer may as well rename its key buying week " Bottega week." Net-a-Porter's global buying director, Elizabeth von der Goltz, has called out this brand as a key powerhouse for the season leading the trend for a more grown-up, polished way of dressing.

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This "Old" Brand Is Suddenly So Popular It's Basically Impossible to Buy

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In just 12 months, Lee has turned this Italian classic brand into the name every fashion buyer is talking about, and it's certainly translating into sales and demand. It's almost impossible to track down a pouch bag or the square-toe mules.

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It is likely that you are already familiar with the work of Daniel Lee, creative director of luxury Italian brand Bottega Veneta, even if you have not realised yet.

Scroll through Instagram and, dotted across the images of fashion insiders, you will see soft, squishy clam-shaped leather Pouch bags (several colourways of which - costing £1,730 - are currently sold out on Net-a-Porter), vibrant square-toe mules with puffy, quilted uppers, rope-effect leather sandals and the occasional woven leather skirt - all Bottega Veneta and all causing a frenzy in the fashion world.

A Central Saint Martins graduate and former director of ready to wear under Phoebe Philo at Celine, Lee joined Bottega Veneta as creative director in June 2018, taking over from the outgoing Thomas Maier. The brand was first launched in 1966, and is now owned by luxury powerhouse Kering, which also owns Balenciaga, Gucci and Saint Laurent.

From his first collection - for pre-autumn 19 - his arrival heralded a regeneration of the brand's aesthetic, one that has gained rapid traction in the fashion world and quickly turned Bottega Veneta, once a sleepy, stealth luxury label, into one of the hottest brands around.

Not simply confined to social media, the brand's new direction has sparked a giddy buzz among luxury buyers.

"I've never seen people make actual sounds of elation so much as when I did a walk-through of Bottega Veneta's pre autumn 2019 collection," says Ida Petersson, menswear and womenswear buying director at luxury retailer Browns. "I was one of those squealing with excitement."

These responses are translating into demonstrable interest from retailers, and retail data company Edited reports that spend on the brand grew after Lee's debut collection. Stockists increased their ranges of Bottega Veneta product by 124% in the UK and 31% in the US year on year.

Additionally, retailers have been capitalising on the hype to drive interest with their marketing. For example, Edited found that mentions of Bottega Veneta on the homepage and emails of German luxury ecommerce site MyTheresa have increased 204% year on year.

"Bottega Veneta is timeless, and it reflects in every single piece of the collection," says Tiffany Hsu, fashion buying director at MyTheresa. "The quality is amazing. Anything from Bottega really updates your current wardrobe instantly, and this is Lee's tour de force. He has managed to bring modernity while respecting the heritage of the brand and the quality level."

Elizabeth von der Goltz, global buying director at Net-a-Porter, agrees: "Lee has very quickly been able to find the essence and codes of Bottega Veneta, but has turned them on their head. He's brought out such new and innovative ideas still using its signature intrecciato [woven leather] and amazing leather craftsmanship to create such new shapes that fashion lovers just can't have enough of it. His use of the leather and his sense of colour are just beautiful and unexpected. As modern as his pieces are, there is also a very classic timelessness to them."

One area driving sales for the "new" Bottega Veneta is accessories. The category has long been a stalwart for the brand, which is known for its leather goods. Key items from the new collections include the Pouch - a soft-silhouetted leather clutch bag that retails from £865 to £5,915 - as well as mules and pumps featuring reworkings of the brand's signature intrecciato technique, retailing from £495 to £940.

Social media attention has fuelled Bottega's success, but it will need to maintain momentum once fickle fashionistas move on to the next big thing. This should not be a problem, however, as buyers note that customers are buying into its overall offer.

Edited's data shows that new footwear arrivals were up 64% year on year for with Lee's debut collection, and handbag arrivals were up 83% season on season.

"Bottega Veneta bags and shoes are almost impossible to keep in stock," adds Browns' Petersson. "The Pouch is still the number one requested item and the new padded Cassette silhouette has a waiting list, which is continuing into next season. The quilted pumps and mules never even made it to the shop floor for us: they went straight to our clients via our personal shoppers."

She continues: "Lee's designs have substance that, in my view, goes beyond the hype. There may be 'It' items from the collection, in particular the bags and shoes, but the construction and look of the garments are highlighting luxury dressing rather than being entirely trend driven. Hopefully this means we are in it for the long run, as long as the brand can keep producing new accessory and footwear shapes on a seasonal basis."

"Daniel Lee has been able to evolve the footwear and leather goods offer in a direction that is both new and consistent with the 'intrecciato' tradition of the brand," notes Luca Solca, senior research analyst for luxury goods at research agency Bernstein. "The product is great, and it came to the market at the right time. Luxury goods consumers were keen to 'buy up' into more expensive brands."

Lydia King, fashion director at Harrods, describes herself as "enthralled" by the brand's most recent spring 20 show.

"The simplicity of the designs in new fresh shapes just felt so relevant," she says. "The aesthetic has been updated for a more youthful customer, still staying true to a minimalist sensibility but now with a twist or edge to each piece."

She highlights key items from the collection as the ice blue and orange leather coats, slouchy intrecciato bags and unisex slouchy shorts.

While the woven and quilt-effect shoes are hugely popular, King says that sales at Harrods are spread evenly across the whole collection, rather than being confined to just the pieces popular on Instagram.

"The clean aesthetic of the past few seasons feeds perfectly into the new Bottega world," she explains. "More generally, the consumer appetite for buying well and investing in more timeless pieces that won't date speaks to the Bottega [style]. Although the design is new, the aesthetic stays true to the woven heritage of the brand."

Bottega Veneta's new-look ready to wear is also performing well, as it appeals to a growing consumer appetite for minimalism. Lee's pared-back approach is a departure from the maximalist, eclectic aesthetic that has driven growth at big-name brands such as Gucci in recent seasons. It is also filling the gap left by Phoebe Philo's departure from Celine, which has moved in a different direction under its new artistic director Hedi Slimane. Some in the industry have referred to Bottega Veneta under Lee as the "new old Celine".

"Phoebe Philo's departure really left a gap for an aesthetic that appeals to that pared back, grown-up fashion consumer," explains Emily Gordon-Smith, director of consumer product at research agency Stylus. "Lee has neatly filled that space with his minimalist aesthetic."

"His aesthetic is such a contrast to the maximalism that has been surrounding us and has been what the hot brands have been about," adds Gordon-Smith. "It's really refreshing in contrast to the other things that are going on at the moment."

Furthermore, although brands such as Gucci, Balenciaga and Off-White have found sales success with heavily logoed products,

Lee focuses on working with subtle details that are still instantly recognisable as Bottega - for example, by blowing up the brand's signature woven leather into oversized versions.

Where the maximalism trends has been replicated and referenced extensively across the high street, Bottega's minimalist aesthetic, super-high quality and correspondingly high prices - the small Messenger bag starts at £895 and prices go up to £8,445 for a intrecciato woven leather coat - allows it to retail a sense of aspiration and exclusivity, and one that will be harder for the high street to replicate.

"Bottega Veneta has always been really expensive and has always been about subtle luxury and impeccable materials: that aspirational aspect is very important," says Gordon-Smith. "To have very subtle, beautifully crafted, superior-quality luxury items is really what it's about."

She continues: "Smart retailers such as Zara pick up on key items really quickly. But it's such a minimalist, pared-back handwriting that I think for, many high street retailers, the trend is maybe one they would be cautious of. You really have to get the quality right for it to succeed and it's a trend that is easy to get wrong."

Despite the intense buzz, and buyers' confidence that Bottega Veneta's success is no flash trend, Lee's work has yet to show concrete financial success. In parent company Kering's most recent financial results, Bottega Veneta reported revenues of €549m (£493.2m) for the first half of 2019, down 3.8% compared with the same period in 2018.

Kering noted, however, that Lee's appointment was the first step in a new phase for the brand, saying: "The action plans put in place are designed to cover the long term."

"They are aimed at rejuvenating and broadening Bottega Veneta's customer base, raising awareness of the brand - especially in mature markets - and enhancing the in-store customer experience. Not all of their benefits will be felt in 2019."

The appointment of a new CEO, Bartolomeo Rongone, who began his role at the start of September 2019, is expected to accelerate this transformation.

Daniel Lee's designs for Bottega Veneta have defined a moment in fashion. In a sea of maximalism true luxury is in danger of losing its shine to high street copycats. By meeting a demand for subtle yet instantly recognisable luxury, Bottega Veneta has been able to carve itself a new niche.

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It is likely that you are already familiar with the work of Daniel Lee, creative director of luxury Italian brand Bottega Veneta, even if you have not realised yet.

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Tokyo has much to look forward to with the opening of Bottega Veneta 's latest flagship store in the prestigious Ginza district. Spanning six floors with 800 square metres of retail space, the shop is the brand's biggest retail presence in Asia, located in the heart of Ginza. This unparalleled brick and mortar presence is matched by the extensive product range, which includes ready-to-wear for women and men, leather goods, bags, eyewear, fragrance, shoes, jewellery and home.

"We genuinely value our loyal clients in Japan which continues to be one of our most important markets in the world," said Bottega Veneta CEO Claus-Dietrich Lahrs. "With a comprehensive selection in a unique and beautifully designed environment, the Ginza flagship is an investment in elevating and enhancing the shopping experience of our Japanese clients, and customers throughout Asia."

Men's leather goods and shoes will be located on the shop's lower level, with the ground floor reserved for women's leather goods and eyewear. Up on the first floor is a space exclusively allocated for precious bags and personalisation services. The women's shoe salon is also found here, and also above on the second floor, where women's ready-to-wear is displayed. The third floor features men's ready-to-wear and precious styles, whilst the last top floor is reserved for private appointments.

True to the spirit of Bottega Veneta, the space has a considered and thoughtful design aesthetic, reflective of Tokyo's history, artistic heritage, and the country's natural landscape. The exterior features Bottega Veneta's signature intrecciato motif. But in lieu of the luxuriously soft leather strips one might expect, the facade features 900 silver square metal panels that weave together effortlessly to create the company's iconic pattern.

The folds and pleats from the window and exterior influences the daylight that streams in, allowing the sunlight's shape, colour and mood to evolve dynamically with the natural movement of the sun. This intentional design mirrors the philosophy of Light and Space artists from the 1960s, who were a key source of inspiration for the flagship store.

The interior's flooring consists of natural oak flooring, featuring a linear pattern inspired by Tamo - a rare and precious species of ash tree found in Japan that is renowned for its intricately nuanced texture. Other material components include teppei-seki, Japanese slate that was used historically during the Edo period, and display tables made with hammered oak and a honeycomb texture that is inspired by traditional Japanese craftsmanship. This ode to Japan is married with Bottega Veneta's proud Italian heritage, where

Italian marble such as Persian Red travertine is used for luxurious effect.

As the brand's iconic flagship store, the store is outfitted with Bottega Veneta's furniture collection. The home brand's Tassello and Rudi collection will also be on offer in an exclusive colour palette exclusive to the Tokyo flagship, and will stand in stark contrast to the pale aesthetic of this minimalist space. In addition, iconic Italian furnishings will also be used, including Gio Ponti chairs and Sesann armchairs, all of which will provide a cosy and soothing ambience.
Bottega Veneta, 5-6-1 Ginza Chuo-Ku, Tokyo, Japan, +852 3 3538 3211

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bottega veneta’s largest asia flagship is inspired by light and tokyo’s futuristic spirit

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bottega veneta’s largest asia flagship is inspired by light and tokyo’s futuristic spirit

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lifestyleasia bottega veneta’s largest asia flagship is inspired by light and tokyo’s futuristic spirit

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Bottega Veneta opens its largest store in Asia in Tokyo's Ginza district

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Tokyo has much to look forward to with the opening of Bottega Veneta 's latest flagship store in the prestigious Ginza district. Spanning six floors with 800 square metres of retail space, the shop is the brand's biggest retail presence in Asia, located in the heart of Ginza.

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When it decided to set up a new studio in an 18th century Italian villa, made a point of incorporating sustainable development. With solar panels on the roof, a rainwater collection system and an air conditioning unit that limits the emission of CO², the Bottega Veneta villa respects the principles of sustainability and environmental protection championed by the Green Building Council team, who manage the prestigious certificate. The label kept the existing foliage and used only certified materials and plants during development of the 55,000 m² historic park, as well as adding a special bicycle parking area, encouraging employees to travel to work on two wheels. All this contributed to Bottega Veneta receiving the highest classification - platinum - of the LEED (Leadership in Energy and Environmental Design) certificate, becoming the first company in the luxury world to be recognized by the ecological label. Marco Bizzarri, chairman and CEO of the Italian brand, commented "This platinum certification fills me with pride because it confirms that the company was right to invest in sustainable development, with the primary preoccupation being the protection of our employees health".
Image: Bottega Veneta's Montebello Vincentino atelier
See also on Vogue.fr in English:
Bottega Veneta's customization studio
30 stand-out shoes for the season

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Audrey Destouches, translated by Charlotte Sutherland-Hawes

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Bottega Veneta receives LEED ecological certificate

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The Green Building Council has just awarded Bottega Veneta the LEED certificate for its new ecological Montebello Vincentino atelier, making the Italian house the first luxury brand to receive this recognition.

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Fashion

Daniel Lee, the new creative director of Bottega Veneta, is brewing up a fashion storm amongst industry insiders...

When Hedi Slimane debuted his new direction (for now accent-free Celine), there was a resounding crunch of collective heartbreak from the fashion industry.The brand so beloved by fashion's most stylish women was no more. There was no more fluid tailoring, no more ground-breaking shoes that so brilliantly combined style and comfort. (White leather high top skates: I will never not love you). No more body-boosting, mind-altering dresses, no more 'it' bags. In short, no more Phoebe Philo making women feel chic. (Hold it together, Philophiles).

The mourning was real, Instagram accounts documenting Phoebe's most epic works sprung up (thank you, @oldceline), hashtags were founded and the search for the next fashion obsession was on.

Well, we have found it. Enter: Daniel Lee, the new creative director of Italian brand Bottega Veneta.

A little history first. Bottega Veneta is a brand that had accessories at its core, in particular a woven leather bag. Bottega's legacy is in its quality, its discretion and its ability to be recognisable without being shouty. You would have seen its trademark intrecciato design, clocked it (probably admired it) with not an iota of gaudy branding in sight.

Lee's new look for the brand has all the ingredients of classic Philo ethos: cool clothes that women want to wear. This is no coincidence, 32-year-old British-born Lee worked under Philo at Celine as director of ready-to-wear and spent seven years at the house. Prior to this, Lee worked in some of fashion's most innovative houses namely Maison Margiela and Balenciaga. But it's his work at the Italian brand that has got the fashion industry abuzz with hope. This isn't Old Celine, this is New Bottega Veneta.

Earlier this year Lee showcased his inaugural pre-fall collection consisting of deep scooped necklines that were sensual but sophisticated, soft-as-butter black knee length shorts, neat anoraks paired with quilted A-line leather skirts and reinterpretations of the classic Bottega woven bag - supersizing the infamous intrecciato technique (so easily identifiable it has the markings of a future 'it' bag). Inevitably the collection was reminiscent of Philo's finest works, but there lay an element of Italian refinement in Lee's new vision.

This week the designer debuted his first campaign for the house, shot by photographer, Tyrone Lebone - coincidentally the only photographer other than Jurgen Teller to shoot a Celine campaign under Phoebe Philo. The images were sun-soaked in classic Lebone style, smart and made every aspect of the clothes and accessories hugely desirable. Even I, the woman who repels anything not a trainer, considered the lure of Lee's perfect heeled leather shoes.

It's a matter of weeks before Lee showcases his first runway collection at Milan Fashion Week, and whilst we have been all consumed with the high profile moves in the industry: Virgil Abloh at Louis Vuitton, Kim Jones at Dior - perhaps it's time to refocus on the quieter, more discreet name that is promising us clothes we can't wait to wear.

Rejoice, Philophiles, your wardrobes need not mourn any longer (although your bank balance might).

Images: Courtesy of Bottega Veneta

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Who is Daniel Lee and why is he fashion's latest obsession?

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Fashion Daniel Lee, the new creative director of Bottega Veneta, is brewing up a fashion storm amongst industry insiders... When Hedi Slimane debuted his new direction (for now accent-free Celine), there was a resounding crunch of collective heartbreak from the fashion industry.The brand so beloved by fashion's most stylish women was no more.

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I've seen one picture of you so far, and you're wearing a white T-shirt and jeans. Tell me about your personal style.
I'm wearing a white T-shirt and jeans now [ laughs]. I'm quite casual. I love tailored clothes; that's something I love to make, but I feel kind of uncomfortable being too formal. I'm definitely more comfortable in knitwear, jeans, and a T-shirt. And trainers.
So you'll be adding denim and more trainers to the Bottega lineup?
More trainers, definitely, but I'm kind of bored with that, honestly. Talking about Italian style, when you look at films or these great people from the past, the Agnellis, there's definitely a done-up elegance. It's time for that to come back in fashion.
How has the adjustment to Milan been?
I still have my place in London, because I think it's really important to get out and see the world. Milan is tiny, and it's very insular. That said, it's great for focus and for work.
One thing I remember from years ago at Bottega shows was the phrase at the back of the runway: "When your own initials are enough." Now, of course, we're living in a logo-obsessed time. Where do you stand?
That's what is interesting about Bottega. We have a name and everyone knows it, but it's not going to be about logoed product.
What about celebrity? Fashion is also in a celebrity-driven moment.
Bottega is a brand that talks about sophisticated elegance. It's almost about being quiet. A silence in all the noise. A kind of stillness. For me, life is really all about living in the moment. I don't have social media. I try and use my cell phone as little as possible. I definitely prefer human interaction. That's very important to me and to the work I do. Design is also about living in the moment. It's about working with whatever you have at hand and making the best of a situation. Celebrity? I think it's a very different kind of world than what we're in.
If you're not working and you're not on your phone and you do have free time, what do you like to do?
I play a lot of sports; I go to the gym. I spend time with my family. I'm very close with my family and friends, and none of them works in fashion. It's a very different world. Also, I enjoy watching TV and relaxing at home. The days are intense.
Back to these pictures. Spring was designed before you arrived, is that right?
I tweaked things. What I did was edit, I'd say. We're working on my first pre-collection, which will be out at the beginning of December, and I really wanted to swing into action on that. Obviously it's a fashion business; we need product in the stores, so I edited [Spring] to what I felt was essential. For me, it's really important that the February show is the moment that we show to the world what Bottega is, and that the work really speaks for itself.

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Daniel Lee, Bottega Veneta's New Creative Director, Lays Down the Framework: Sophisticated Elegance, Savoir Faire, and "Clothes to Live In"

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I've seen one picture of you so far, and you're wearing a white T-shirt and jeans. Tell me about your personal style. I'm wearing a white T-shirt and jeans now [ laughs]. I'm quite casual. I love tailored clothes; that's something I love to make, but I feel kind of uncomfortable being too formal.

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Is digital art the next avant-garde movement in the history of art, architecture, and design?

At recent festivals like Frieze and Art Basel, digital and new media artists have become the center of attention. Many contemporary artists and designers see the computer as an artistic tool. New software has transformed traditional mediums like painting, drawing, and sculpture as new forms such as virtual reality, digital installations, and projection mapping gain acceptance.

Not only artists are becoming more comfortable with technology - the emergence of platforms like Artsy, Artspace, and Paddle8 suggests that viewers are adjusting to observing artworks on a screen, as well. Museums and galleries are following suit, building new exhibition spaces suited to digital art installations and projections.

Digital art installations offer new opportunities for viewers to actively participate in the artwork. Artists and designers have the opportunity to play with the "real-virtual" boundary between the viewer, or "user," and the digital dimension. Touch, physical participation, and social interaction become essential qualities. The "Behaviours of Light" and "Plane White" installations listed below allow users to literally feel their way around the design script and form their own experience. Take a look at the mind-bending installations and beautiful spaces listed below that celebrate the creative possibilities afforded by new technologies:

Canadian architecture firm JNZNBRK has transformed an entire gallery space with their temporary installation "Behaviours of Light." The designers carefully placed 39 acrylic triangles, each treated with a semi-reflective film, at a specific height to create a reflection. The installation pushes the viewer to rethink the gallery environment; the walls of the room don't only create a space for the work, but are an essential part of its display.

The "Plane White" installation is interactive digital experience for Kandinsky's famed painting "Composition VIII." Kandinsky himself was a synesthete, meaning he lived with a psychological condition that made him "hear colors"; he associated each shade with a specific musical note, making a entire artwork signify a finished song. Like Kandinsky, these digital artists experience art in a non-traditional, multi-sensory way by blurring the line between the visitor and the digital dimension. The artwork feels tangible to the viewer as they go through the motions recreating Kandinsky's images on the wall.

Bryce Wolkowitz Gallery by Bernheimer Architecture PLLC, New York

Located in New York's Chelsea art gallery district, Bryce Wolkowitz gallery specializes in digital and new media art. The high ceilings and monumental skylights create optimal viewing space for digital artworks. Many pioneers in digital and new media art have exhibited here, including Jim Campbell, Edward Burtynsky, and Ben Rubin.

Microsoft's sleek Swiss headquarters was designed with impressive digital projections in mind. A central black glass wall allows employees to give presentations using Microsoft's web tools. The office itself is decorated in black and white to make colorful projections stand out in the space.

Netherlands Institute for Sound and Vision by Neutelings Riedijk Architects, Hilversum, Netherlands

The Netherlands Institute for Sound and Vision celebrates Dutch contributions and progress in radio and television from traditional media to digital developments. The facility includes an enormous national archive, a television and radio exhibition center for the public, and research institute for academics and professionals in the communications industry. The glass façade design was inspired by television images placed on high-colored relief glass panels.

Set in a former film studio, the Shanghai Film Museum includes over 70 interactive digital installations designed to educate viewers on Shanghai's local media industry. Visitors can digitally dub classic films in a sound studio, walk through a lifelike film set, or feel like a star on a virtual red carpet complete with admiring fans and photographers.

Like the Chinese museum above, New York's Museum of the Moving Image is located in a former film production studio. Its exhibitions and programming celebrate the history and technology of the film industry, with a focus on modern digital culture. Digital art projections, as well as interactive installations, are stationed throughout the museum's exhibition spaces, large theater, and café.

Want to create a digital projection installation in your space? Glow Walls allow you to project your own images onto the surface of your choice.

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The Future of Art: 8 Digital Installations and Interactive Spaces - Architizer Journal

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Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter. Is digital art the next avant-garde movement in the history of art, architecture, and design? At recent festivals like Frieze and Art Basel, digital and new media artists have become the center of attention.

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Immersive Fashion Installations digital fashion show

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In a collaboration with the luxury travel brand MCM, British designer Christopher Raeburn created an immersive digital fashion show. Inspired by all-things natural such as rain, wind and the sun, this fashion show was a memorable experience for attendees. The models were featured in a "360 degree immersive installation" that was surrounded by digitized interpretations of the weather.

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Not only is it perfectly commonplace to see women sexualized and represented as objects used to sell products (and note: women are depicted in this way with significantly more frequency than male models are), such imagery is being put forth for the sake of "fashion." And it is here that we really encounter problems.

With this in mind, the question becomes, can we expect fashion to change its tune in terms of its practice of using women to sell sex and more specifically, fragrances or ready-to-wear? Also, can we expect the industry to be explicit with its values and thereby, begin placing greater worth in women, which includes how they are depicted in the media and in ad campaigns?

The answer: Probably not, in part because the fashion industry is, oftentimes, reacting to the desires of the zeitgeist at large in creating marketing materials, which it will happily remind you. Change here would, thus, mean altering the cultural underpinnings of consumer preferences and purchasing decisions. And that is no small feat.

However, having said that, fashion - as a key creator and disseminator of culture - has very substantial power in terms of affecting the larger social narrative. This is a fact.

We - as the media, as consumers, as active participants in the conversation on social media and elsewhere - need to stop praising ads that objectify and/or belittle women as "provocative," as "art," and as "fashion." Because this is not "art" and it is not "fashion." It is objectification and it is damaging.

The good news? With an increasing number of women taking roles that were - for many years - dominated almost exclusively by men, including CEO and creative director positions at major houses, it would be easier than ever before for them to flip the switch, so to speak, on advertising that objectifies women. Such messaging simply does not need to be "in style" and frankly, it should not be any longer.

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This Is Not "Art" or "Fashion," It is Objectification - The Fashion Law

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In addition to victimizing women - by way of ad campaigns and editorials, alike - fashion thrives on the practice of objectifying women. This is a long-standing practice and in recent years often includes hyper-sexualized fragrance ads for the market's biggest brands, and extends to apparel and co

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BLAUBLUT EDITION Image Licensing | STREET STYLE TRENDS

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Street style photography trends from New York, London, Milan and Paris Fashion Week.

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Bottega Veneta is an heritage Italian fashion brand, founded in 1966 by duo Michele Taddei and Renzo Zengiaro. Bottega Veneta translated means "Venetian atelier" which refers to their extraordinary  artisanal leather goods. Bottega Veneta, once a sleepy stealth luxury brand has elevated to one of the hottest brands in the fashion industry under creative director Daniel Lee. Despite the brand's low digital presence, Bottega Veneta brings big buzz back to luxury buyers. The label is owned by the conglomerate Kering.

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The purpose of this survey is to gather information about the brand Bottega Veneta. The collected data will allow a better understanding and help develop a strong brand strategy, in communications and branding.

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The purpose of this survey is to gather information about the brand Bottega Veneta. The collected data will allow a better understanding and help develop a strong brand strategy, in communications and branding.

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WEEK 1

- given three brand to choose from
- from the start that I wanted to work on brand Bottega Venetta
- Bottega Venetta - italian heritage brand that is becoming popular again
- all over Instagram
- looking at different media channels of fashion brand Bottega Venetta
- LOVE love the new Bottega Venetta by David Lee at the moment
- stuck with new ideas

WEEK 2

- started with researching about the old and new Bottega Venetta
- disassemble the old vs new Bottega
- came up with new ideas

WEEK 3

- spitballed in order to implement a new branding strategy
-  explored different media channels to come up with different perspectives on what to do with the brand

WEEK 4

- did primary and secondary research
- came up with couple of moodboards for the brand
- Researched about the BRAND IDENTITY

WEEK 5

- took inspiration from different sources such as art, music and fashion
- identified the target customer of the brand
- aimed at millennials but also middle aged woman
- not specifically Gen Z customers due to high price of leather goods
- came up with the idea of interactive art installation in form of a pop up
- visualized both OLD BOTTEGA and NEW BOTTEGA
- as well as showing " venetian workshops " for consumers to understand the true meaning of the brand
- BOTTEGA VENETA translated from Italian, means “Venetian atelier”

WEEK 6

- looked at the newest campaign pictures of Bottega Venetta Pre- Spring 2020
- once again the campaign focused on nudity with huge pieces of the upcoming collection
-  campaign picture consisted of HUGE gold link chains
- developed my ideas for the video

WEEK 7

-  came up with a new concept idea
-  combined art and fashion
- looked at different artists and galleries that focus on contemporary art
- discovered duo elm green & dragnet that also developed PRADA MARFA ( 2005 )
-innovative and interesting design ideas
- collaboration with bottega veneta

WEEK 8

- concluded and brought together every aspect
- presented the final result and added bits and pieces to make it more interesting
- made some last minute adjustments

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#CiaoKendall – Kendall Jenner x RESERVED – AW19 campaign

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Gigi, Bella & Anwar Hadid Have Dinner With Yolanda | Vogue

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Workin’ 9 to 5: Inside the Vogue Office! ft. Kate Upton, Elsa Hosk, Joan Smalls & More | Vogue