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@Bottega Veneta 葆蝶家
Bottega Veneta葆蝶家宣布推出全新专属服务：“工艺证书”计划。“工艺证书”相当于一项终生保修计划，为标志性手袋提供无限翻新和维修服务，进一步巩固品牌恒久的手工艺品质。

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🦉2021年，开云集团发布《实现全循环》报告，重新思考其生产，使用和延长资源及产品的方式。 啦～ 限定礼盒。

👉更多活动详情，敬请关注@Kering开云 小红书，并在置顶笔记《开云可持续｜循环出圈♻征集令》了解，期待你的参与～

分享循环生活，亮出"可持续"的自我态度，赢取
如今，Kering开云集团在纽约、中国香港和上海都设有维修中心，为所有品牌提供售后服务。上海维修中心于10年前启动。2022年，修复了涵盖所有品牌的总计28,000件物品。

♻开云集团旗下的众多品牌，在循环发展方面都采取了哪些行动？

@GUCCI 古驰
"循环丹宁计划"由Gucci古驰的Circular Hub构想，结合了74%的再生棉和26%的消费后再生纤维。该计划将于2024年呈现，每件商品都将包含数字产品护照，使用户可以追踪从原材料到制造和生产的整个过程。

Saint Laurent 圣罗兰
Saint Laurent圣罗兰工作室的大部分皮革都是引入专用程序进行裁剪，工作室配备了先进的技术，以最大限度地提高效率减少浪费。这种统筹安排还可以利用边角料生产小皮革制品：MONOGRAMME系列手袋的工艺流程已扩展到其他产品范围。

@Bottega Veneta 葆蝶家
Bottega Veneta葆蝶家宣布推出全新专属服务："工艺证书"计划。"工艺证书"相当于一项终生保修计划，为标志性手袋提供无限翻新和维修服务，进一步巩固品牌恒久的手工艺品质。

@Balenciaga 巴黎世家
2021年起，Balenciaga巴黎世家「遇见艺术」将受损或未曾销售的往季成衣捐赠给艺术家，由他们重新创造出艺术作品，并在世界各地的指定门店进行展出。(artist: Harry Nuriev)

@Alexander McQueen 亚历山大麦昆
Alexander McQueen亚历山大麦昆积极探寻减少环境影响的可能，成为首个将ICTYOS公司研发的创新冰川蓝海洋皮革运用于女士廓型运动鞋上的品牌。

@Brioni布里奥尼
Brioni布里奥尼的 "A Suit for Life" 项目体现了Brioni的品牌哲学，提供了旨在可修复和适应各种生活场景的西装。这种独特的维护和售后服务理念体现了慢奢华的概念。

--

循环出圈♻征集令
Kering开云集团邀你

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开云可持续｜开云品牌如何实现"全循环"（上）

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🦉2021年，开云集团发布《实现全循环》报告，重新思考其生产，使用和延长资源及产品的方式。 如今，Kering开云集团在纽约、中国香港和上海都设有维修中心，为所有品牌提供售后服务。上海维修中心于10年前启动。2022年，修复了涵盖所有品牌的总计28,000件物品。 ♻开云集团旗下的众多品牌，在循环发展方面都采取了哪些行动？ @GUCCI 古驰 "循环丹宁计划"由Gucci古驰的Circular Hub构想，结合了74%的再生棉和26%的消费后再生纤维。该计划将于2024年呈现，每件商品都将包含数字产品护照，使用户可以追踪从原材料到制造和生产的整个过程。 Saint Laurent 圣罗兰 Saint Laurent圣罗兰工作室的大部分皮革都是引入专用程序进行裁剪，工作室配备了先进的技术，以最大限度地提高效率减少浪费。这种统筹安排还可以利用边角料生产小皮革制品：MONOGRAMME系列手袋的工艺流程已扩展到其他产品范围。 @Bottega Veneta 葆蝶家 Bottega Veneta葆蝶家宣布推出全新专属服务："工艺证书"计划。"工艺证书"相当于一项终生保修计划，为标志性手袋提供无限翻新和维修服务，进一步巩固品牌恒久的手工艺品质。 @Balenciaga 巴黎世家 2021年起，Balenciaga巴黎世家「遇见艺术」将受损或未曾销售的往季成衣捐赠给艺术家，由他们重新创造出艺术作品，并在世界各地的指定门店进行展出。(artist: Harry Nuriev) @Alexander McQueen 亚历山大麦昆 Alexander McQueen亚历山大麦昆积极探寻减少环境影响的可能，成为首个将ICTYOS公司研发的创新冰川蓝海洋皮革运用于女士廓型运动鞋上的品牌。 @Brioni布里奥尼 Brioni布里奥尼的 "A Suit for Life" 项目体现了Brioni的品牌哲学，提供了旨在可修复和适应各种生活场景的西装。这种独特的维护和售后服务理念体现了慢奢华的概念。 -- 循环出圈♻征集令 Kering开云集团邀你#循环出圈 啦～ 分享循环生活，亮出"可持续"的自我态度，赢取#开云可持续 限定礼盒。 👉更多活动详情，敬请关注@Kering开云 小红书，并在置顶笔记《开云可持续｜循环出圈♻征集令》了解，期待你的参与～ #开云 #开创想象 #编织可持续时尚未来 #开云可持续创新先锋奖

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BV秀场设计感无处不在🌴环保又时尚🐟🐠

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这次秀主题的以环保为主🌍 💦自然与时尚融合 穿插经典BV绿🍏 海洋🌊 鱼儿🐟 🌍🌍模特的畅游 极简融合世界 👉这里是@GO计划 👈 Gogo发布最新实时报道 #go计划 #GoplanArt #活动策划 #设计 #bv #Bv #bV #bv包 #bv葆蝶家 #Bv靴子 #葆蝶家 #BottegaVeneta葆蝶家 @时尚薯 @潮流薯

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风格下你所看不见的可持续理念

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风格下你所看不见的可持续理念

在可持续发展上，Bottega Veneta正在致力将皮革发展成为一种零动物成分的“纯素”商品。在不远的将来，皮具的原料或许将不再来自动物皮革，而是以更人道的时尚形式呈现。虽然Bottega Veneta可能不是该领域可持续发展的最先锋，但早在2014年，其标志性的Cabat手袋就已实现了100%的供应链可追溯。同年，该公司获得LEED（能源和环境设计领导力）最高等级铂金认证，成为奢侈品领域首家获得该生态标签认证的公司。品牌的首席执行官Claus-Dietrich Lahrs表示：“我们公司的建筑物、工匠所在的工作环境，不仅体现了尊重生态，而且尊重人性和资源。我们有80名在家工作的女性，我们想为她们的生活提供保证。无论能做什么来保持和推动可持续发展，我们都会努力做到。”

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BV customer profile/identity and positioning for a brand.

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BV customer profile/identity and positioning for a brand.

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POPs and POD

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BOTTEGA VENETA — SWOT analysis Bottega Veneta vs. Loewe

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Bottega Veneta Launches ‘Kraft’ Handbag Collection Made From 100% Recycled Paper

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Award-Winning Impact Media - Alt Protein & Sustainability Breaking News

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Sustainability is at the heart of Kering's strategy as much as its creative and modern vision of Luxury. By the same token, it is an ethical necessity and a driver of innovation and value creation for the Group, its Houses, and its stakeholders.

In 2017, Kering unveiled its sustainability strategy, with a target to reduce its environmental footprint by 40%. This strategy is underpinned by three pillars.

CARE: taking steps to reduce its environmental footprint and preserve the planet and its natural resources by using innovative tools.

COLLABORATE: contributing to high environmental, ethical and social performance by promoting parity and diversity and becoming an employer of choice.

CREATE: imagining innovative alternatives through an open source approach.

2023 sees Kering publish the second Progress Report as part of its 2025 sustainability strategy. This report outlines the Group's ambitious commitments and the concrete actions implemented throughout its value chain. It also highlights the progress made for each of the strategy's three pillars and the challenges that still need addressing.

Kering is debuting a podcast dedicated to sustainability. Over five episodes, listeners will deep dive into how Kering is moving towards a more sustainable Luxury that is crafted both for today and tomorrow. Hosted by the journalist Laurianne Melierre, the podcast takes us behind the scenes of sustainability, spotlighting issues such as biodiversity protection, raw materials, new materials, eco-design and circularity. Happy listening!

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"Luxury and sustainability are one and the same." Kering presents its second 2020-2023 Progress Report and the latest results of its sustainability roadmap for 2025.

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Sustainable Fashion By Raya - A guide to a sustainable wardrobe

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As of Friday the 11th of February, the first fashion week of 2022 has started. Seeing as this week revolves around luxury brands showing off their new collections I thought it might be nice to repeat a post that I wrote last year: High Fashion: The sustainability initiatives of Gucci, Louis Vuitton, and Prada

Today, the post will include Bottega Veneta, Balenciaga, and Christian Dior.

Bottega Veneta was founded in 1966 by designers Michele Taddei and Renzo Zengiaro. It is an Italian luxury brand, currently based in Milan, that has several product lines including handbags, shoes, perfume, and ready-to-wear fashion.

The brand is known for its funky designs and vibrant color.

Like Gucci, Alexander McQueen, and Yves Saint Laurent, Bottega Veneta is part of the luxury group Kering.

As part of the Kering Group, Bottega Veneta has similar goals and initiatives as the other fashion houses. The brand aims to reduce its total environmental impact by 40% in 2025. Next to this, Bottega Veneta plans to reach 100% sustainable sourcing and traceability for raw materials by 2025.

The Kering Group - including Bottega Veneta - also pledged to go fully carbon neutral, and to reduce greenhouse gas emissions by 50% in 2025

In its products, animal materials such as leather, wool, silk, and feather. These materials are quite controversial in the fashion industry - especially in regards to sustainability. Many argue that these animal materials are unethical and cause harm to the environment.

While using these materials is definitely unethical, it can be argued that leather is a byproduct of the meat industry and does not add any extra environmental damage.

For its leather goods, Bottega Veneta guarantees complete transparency and responsible sourcing.

The brand uses a small to medium amount of sustainable materials including organic cotton, linen, recycled fabrics, and jute.

Jute is similar to cotton and is a natural fiber. It is a very durable material, and due to its rather quick maturity, it can be seen as a renewable material.

Sadly, Bottega still uses some petroleum-based materials in its collection, which are most definitely unsustainable.

HOWEVER, during the autumn/winter 2021 collection, the brand launched the puddle boot which is completely biodegradable. The shoes look like a hybrid of clogs and crocs (at least that's what I think). Instead of synthetic materials, the brand used rubber made of natural molecules including sugarcane and coffee.

As part of the Kering Groups, Bottega Veneta also has similar goals for fair treatment across the supply chain. The brand has taken steps to evaluate forced labor risks.

Moreover, some of the supply chains are certified by Social Accountability International, SA8000. This is a certification to enforce socially acceptable practices in the workplace and includes the Universal Declaration of Human Rights.

The brand is definitely working on becoming more and more sustainable, however, there are still many factors on which the brand can better itself.

Balenciaga was founded in 1919 by Spanish designer Cristobal Balenciaga Eisaguirre. He created unique designs and was constantly experimenting with different materials, proportions, and colors. Like Bottega Veneta, Balenciaga is also part of the Kering group.

Over the last few years, Balenciaga has become quite popular amongst the younger population. However, this popularity is not linked to haute couture but rather to sneakers.

Due to its part of the Kering Group, Balengiaca has the same aims and initiatives as Bottega Veneta including reducing its total impact by 40% and aiming for 100% sustainable sourcing and traceability. Balenciaga has the aim to be completely carbon neutral, and diminish its greenhouse gas emission by 50%.

Balenciaga has posted its commitment on the website, which they update regularly for transparency.

The goal of the brand is "to innovate without harming humans or the environment, while also respecting the welfare of animals" .

In 2018, Balengiaca started supporting the World Food Programme by the United Nations. This program was created to counteract world hunger and helps third-world countries to avoid disasters. In 2019, the brand created a collection in support of the program, and 20% of the earnings of each product went to the WFP.

According to CEO Cedric Charbit, the brand is working hard on gender equality.

In its products, the brand uses leather and wool. On the website, the brand notes that it is fur and exotic leather-free.

In the 2021 summer collection , 93.5% of the materials used were either certified sustainable or upcycled. In this collection, most clothes were gender-neutral, because the brand sees this as a way to reduce resources and waste.

The brand is definitely working on becoming more and more sustainable, however, there are still many factors on which the brand can better itself.

Christian Dior, further referred to as Dior, was founded in 1946 in Paris by Christian Dior.

The fashion house belongs to LVMH (Louis Vuitton Moët Hennessy), which is the largest luxury group in the world. Like Kering, this luxury group has its own sustainability initiatives.

LVMH has created a strategy with three key deadlines for 2023,2026, and 2030 which revolves around four product-focused pillars.

While LVMH has an extensive report on their initiatives and goals I could not find such a report for Dior, however, I did come across some interesting information on the brand.

Dior uses some eco-friendly materials and has a restricted substance list.

The brand fights against labor abuse in the final stages of production. According to Censible the brand performs well compared to other brands. However, the brand is not transparent or traceable in its supply chain.

In the legacy of Christion Dior, who loved gardening, the brand has been dedicated to restoring the Grasse region with flowers. It is also planning on restoring La Petite Provence, and the Queen's Grove at Versaille.

The fashion brand supports women all around the world and has founded the which helps women from third world countries. Women@Dior initiative

While the brand has some sustainability initiatives, it is definitely not enough, and Dior needs to improve by a whole lot in order to reach the goals that LVMH has set.

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High Fashion: The Sustainability Initiatives of Bottega, Balenciaga, and Dior - Sustainable Fashion By Raya

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As of Friday the 11th of February, the first fashion week of 2022 has started. Seeing as this week revolves around luxury brands showing off their new collections I thought it might be nice to repeat a post that I wrote last year: "High Fashion: The sustainability initiatives of Gucci, Louis Vuitton, and Prada".

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Bottega Veneta holds its lead in sustainability, building on consumer perception

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The Italian fashion house gains in the Vogue Business Index for consumer perception of its sustainability efforts, as the industry hones in on plastic waste and inflation puts the spotlight on living wages.

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SMART model

S – Specific

M – Measurable

A – Achievable

R – Relevant

T – Time-bound

RACE Model

（plan）

Reach - 吸引

Act - 互动

Convert - 销售

Engage - 购买后吸引

Eg: Marketing purpose -

在线扩大受众

Channels Search engines

Social networks

Publishers

3rd party blogs or influencers

- 鼓励品牌互动和引导

Destination website (but can also be social media)

Blog

Community

- 通过优化提高线上线下销售额

Destination website: homepage or landing page / Blog / Community

Ecommerce Retargeting & remarketing

- 重复购买和提高忠诚度

Mailers

Social media

Apps

Marketing automation

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Crafting tomorrow's Luxury: Kering's sustainability strategy

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Care, Collaborate, Create: three pillars that shape Kering's 2025 sustainability strategy, Crafting tomorrow's Luxury.

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Max Mara annual sales volume

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Between 2015 and 2019, the annual sales value of Italian fashion company Max Mara Fashion Group experienced an increase, but by 2020 the total sales of the company fell. As of 2021, sales of Max Mara increased again and amounted to about 1.53 billion euros.

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Italy: sales of Max Mara Fashion Group 2021 | Statista

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Between 2015 and 2019, the annual sales value of Italian fashion company Max Mara Fashion Group experienced an increase, but by 2020 the total sales of the company fell.

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Balmain annual sales volume

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Pierre Balmain was born in St Jean de Maurienne, Savoie, in 1914. After the end of the war, in the autumn of 1945, having studied under the greatest couturiers of the time, Molyneux and Lucien Lelo...

Read more

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Balmain Revenue and Financials | Fashionbi

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Annual report and Key Performance Indicators of Balmain

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YSL annual sales volume

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Yves Saint Laurent Revenue - FourWeekMBA

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Yves Saint Laurent generated €3.3 billion in revenue in 2022, compared to €2 billion in 2021 and €1.74 billion in 2020. Related Visual Resources Bernard Arnault’s Net Worth Slow Fashion Patagonia Business Model Patagonia Organizational Structure Fast Fashion Inditex Empire Ultra Fast Fashion ASOS Bu…

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Loro Piana annual sales volume

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In 2019, Loro Piana S.p.A., an Italian clothing company specialized in cashmere and wool products, registered an annual turnover of about 719.7 million euros. The turnover of the company increased overall during the period considered. Moreover, in the same year, the company registered a net profit of 135.23 million euros.
In the LVMH realm
Loro Piana is a highly specialized company founded in the 19th century in North-West Italy and operates in the luxury goods sector. It produces high-end clothing and accessories made of wool and cashmere for women, men and kids. Moreover, the Italian textile house also supplies its fabrics to many other brands. In 2013, 80 percent of the company was bought by LVMH and became part of the leading group worldwide for luxury goods.
A niche sector
Small niche companies that value high-quality and excellence such as Loro Piana are not an exception but rare to come by. Another example in the same sector is represented by Brunello Cucinelli, a company started in 1979 with a focus on cashmere clothing for women and men. Brunello Cucinelli became renowned all over the world for its high-end luxury products, and registered a steadily increasing annual revenue since 2013.

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In 2019, Loro Piana S.p.A., an Italian clothing company specialized in cashmere and wool products, registered an annual turnover of about 719.7 million euros.

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Bottega Veneta - Sustainability Rating - Good On You

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Bottega Veneta is owned by Kering.Our “Planet” rating evaluates brands based on the environmental policies in their supply chains, from carbon emissions and wastewater to business models and product circularity. Here we rate Bottega Veneta “Good”. These are a few factors influencing its score:It uses few lower-impact materials.It’s set a science based target to reduce greenhouse gas emissions in both its direct operations and supply chain, and it claims it’s on track.It has a policy to reduce the chemical-heavy chromium processes in its leather tanning.To minimise waste, it recycles some of its textile offcuts.It has a policy to protect biodiversity throughout its supply chain.Workers’ rights are central to our “People” rating, which assess brands’ policies and practices on everything from child labour to living wages and gender equality. Here we rate Bottega Veneta “It’s a Start”. These are a few factors influencing its score:More than half its final production stage is certified by Social Accountability International - SA8000.It received a score of 41-50% in the 2022 Fashion Transparency Index.It has a comprehensive policy to support diversity and inclusion in its direct operations but not in its supply chain.It claims to have a program to improve wages but there’s no evidence it ensures its workers are paid living wages in most of its supply chain.During the height of the COVID-19 pandemic, it disclosed adequate policies to protect workers in its supply chain from the virus.Brands’ animal welfare policies and, where applicable, how well they trace their animal-derived products are the focus of our “Animals” rating. Here we rate Bottega Veneta “Not Good Enough”. These are a few factors influencing its score:It has a formal policy aligned with the Five Domains of animal welfare.It appears to use leather, wool, shearling, exotic animal hair, and silk.It doesn’t appear to use down, fur, angora, or exotic animal skin.It traces most animal-derived materials to the first production stage.Based on all publicly available information we’ve reviewed, we rate Bottega Veneta “It’s a Start” overall.

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A new frontier in mindful fashion, the Italian label adopts an upcycling approach wherein discarded camel hair fabrics are repurposed to create a new insulating material, which is then used for padded parkas, coats, and gilets

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Max Mara Takes Sustainability To The Next Level With Its Cameluxe Initiative | L'Officiel

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Max Mara Takes Sustainability To The Next Level With Its Cameluxe Initiative

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Balmain - Sustainability Rating - Good On You

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Balmain’s environment rating is ‘very poor’. It uses few eco-friendly materials. There is no evidence it has set a greenhouse gas emissions reduction target. There is no evidence it has taken meaningful action to reduce or eliminate hazardous chemicals. There is no evidence it implements water reduc…

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PS：https://www.ysl.com/en-us/sustainability-standards

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Saint Laurent is owned by Kering.

Our "Planet" rating evaluates brands based on the environmental policies in their supply chains, from carbon emissions and wastewater to business models and product circularity. Here we rate Saint Laurent "Good". These are a few factors influencing its score:

It uses some lower-impact materials including recycled materials.

It's published a biodiversity protection policy that applies to its entire supply chain.

It's set a science based target to reduce greenhouse gas emissions in both its direct operations and supply chain, and it claims it's on track.

It has a policy to reduce the chemical-heavy chromium processes in its leather tanning.

To minimise waste, it reuses some of its textile offcuts.

Workers' rights are central to our "People" rating, which assess brands' policies and practices on everything from child labour to living wages and gender equality. Here we rate Saint Laurent "It's a Start". These are a few factors influencing its score:

Most of its final production stage happens in the European Union, a low/medium risk region for labour abuse.

It received a score of 41-50% in the 2022 Fashion Transparency Index.

It has a comprehensive policy to support diversity and inclusion in its direct operations but not in its supply chain.

It claims to have a program to improve wages but there's no evidence it ensures its workers are paid living wages in most of its supply chain.

During the height of the COVID-19 pandemic, it disclosed adequate policies to protect workers in its supply chain from the virus.

Brands' animal welfare policies and, where applicable, how well they trace their animal-derived products are the focus of our "Animals" rating. Here we rate Saint Laurent "Not Good Enough". These are a few factors influencing its score:

It has a formal policy aligned with the Five Domains of animal welfare.

It appears to use leather, exotic animal skin, shearling, exotic animal hair, horn, decorative feathers, and silk.

It uses recycled wool in some of its wool products.

Responsible Down Standard certifies some of the down it uses.

It doesn't appear to use fur or angora.

It traces most animal-derived materials to the first production stage.

Based on all publicly available information we've reviewed, we rate Saint Laurent "It's a Start" overall.

Last updated May 2023

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Saint Laurent is owned by Kering.Our "Planet" rating evaluates brands based on the environmental policies in their supply chains, from carbon emissions and wastewater to business models and product circularity. Here we rate Saint Laurent "Good".

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PS：https://textile.loropiana.com/loropiana_secrets/en/topic/raw-materials/#null

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Loro Piana is owned by LVMH.

Our "Planet" rating evaluates brands based on the environmental policies in their supply chains, from carbon emissions and wastewater to business models and product circularity. Here we rate Loro Piana "It's a Start". These are a few factors influencing its score:

It uses some lower-impact materials.

To minimise waste, it recycles some of its textile offcuts.

It produces long-lasting products.

It's set a science based target to reduce greenhouse gas emissions in both its direct operations and supply chain but there's no evidence it is on track.

Workers' rights are central to our "People" rating, which assess brands' policies and practices on everything from child labour to living wages and gender equality. Here we rate Loro Piana "Not Good Enough". These are a few factors influencing its score:

Its final production stage happens in Italy, a medium risk country for labour abuse.

It received a score of 21-30% in the 2022 Fashion Transparency Index.

It has a basic policy to support diversity and inclusion in its direct operations and supply chain.

There's no evidence it ensures workers are paid living wages in its supply chain.

During the height of the COVID-19 pandemic, it did not disclose adequate policies or safeguards to protect workers in its supply chain from the virus.

Brands' animal welfare policies and, where applicable, how well they trace their animal-derived products are the focus of our "Animals" rating. Here we rate Loro Piana "Very Poor". These are a few factors influencing its score:

It has a formal policy aligned with the Five Freedoms of animal welfare but no clear implementation mechanisms in place.

It appears to use leather, wool, down, fur, exotic animal skin, shearling, exotic animal hair, horn, and silk.

It doesn't appear to use angora.

It traces some animal-derived materials to the first production stage.

Based on all publicly available information we've reviewed, we rate Loro Piana "Not Good Enough" overall.

Last updated June 2023

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Loro Piana is owned by LVMH.Our "Planet" rating evaluates brands based on the environmental policies in their supply chains, from carbon emissions and wastewater to business models and product circularity. Here we rate Loro Piana "It's a Start".

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Bottega Veneta has grown from a family company to a 1.5 billion euro global group, through changes in ownership, creativity and leadership.

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LOS ANGELES, United States - Bottega Veneta's rise from near bankruptcy to mega-brand is something of a fashion fairytale. For more than a decade, the business achieved double-digit annual growth rates, making it a star performer in the luxury sector, even through the dark days following the global financial crisis of 2008, when Bottega Veneta's "stealth luxury" ethos appealed to affluent consumers disenchanted with flashy logos and statement pieces.

Founded in 1966, the Italian luxury goods house was acquired in 2001 by Gucci Group (now part of the French conglomerate Kering, previously known as PPR), back when Tom Ford and Domenico De Sole were just starting to build a new luxury group. Soon after, Patrizio di Marco and Tomas Maier were appointed chief executive and creative director, respectively. Maier's first collections focused on shoes and bags, notably, the Cabat tote, which, with no logos, no hardware and no adornments, became one of the brand's best-selling products in its signature intrecciato weave, seen as a discreet sign of luxury and sophistication.

By 2005, the once-troubled brand had achieved profitability with €160 million in annual revenues, after a retail roll-out that began in London, Paris and Milan and continued in cities around the world, especially in Asia. In 2013, Bottega Veneta hit a critical milestone: €1 billion in annual revenue, making it the second-largest luxury brand in the Kering portfolio after Gucci. Over the years, Bottega Veneta has consistently earned some of the highest operating profit margins in the luxury goods industry, around 30 percent.

But like all good fairytales, Bottega Veneta's story has a number of twists and turns. In 2015, growth slowed to 3.2 percent on constant exchange basis, for a total of €1.286 billion in revenues. Like many luxury businesses, Bottega Veneta had become overly dependent on the traveling luxury consumer, and when tourism and spending dropped in the second half of the year, the business was hit hard. In the first quarter of 2016, Bottega Veneta reported €268 million in turnover, down 8.3 percent from the year prior on a comparable basis. What's more, while Bottega Veneta's core leather goods category remains healthy, it is no longer able to drive the growth necessary to continue on the brand's rapid trajectory. In 2015, leather goods drove 88 percent of revenues at Bottega Veneta, while ready-to-wear accounted for only 4 percent of sales.

Today, Bottega Veneta is led by Carlo Beretta, who joined the business as chief executive in 2015, stepping into the formidable shoes of Marco Bizzarri (now the chief executive of Gucci). Beretta's key challenge: finding new avenues for growth for one of Kering's star brands, something the executive has coined '"2BV," or "€2 Billion Bottega Veneta."

In an exclusive conversation which coincided with the opening of Bottega Veneta's flagship maison in on Rodeo Drive in Beverly Hills, California earlier this month, Carlo Beretta told BoF's Imran Amed about his plans to reinvigorate the brand and drive €2 billion in annual revenue.
IA: In a way, the story of Bottega Veneta is like a fairy tale. There are few businesses that achieve this level of scale while still retaining a sense of exclusivity. How did Bottega achieve it?

Bottega Veneta store, Beverly Hills | Source: Courtesy

CB: You're right. When Kering acquired Bottega Veneta in 2001, the company was almost bankrupt. The business was doing €35 million in turnover, but with a financial situation that was very bad. At the head [of Kering, then Gucci Group] at that time, there was Domenico De Sole and Tom Ford, and their first good [decision] was to hire Tomas Maier to take responsibility at the brand, to begin this incredible fairytale, as you put it.

Bottega Veneta was founded by Renzo Zengiaro and Michele Taddei in 1966, in an area of Italy where there was not such a long tradition in craftsmanship for leather goods, but where there was a strong tradition for craftsmanship of leather. Their idea was to create an accessories brand in this area where there was such an incredible manual attention to building product.

When Tomas was appointed creative director, he really went back to the origins of the brand to understand its values, and he [defined] four pillars for the brand: outstanding craftsmanship, innovative design, contemporary functionality and the highest quality materials. The great success of Bottega Veneta has been always based on the coherence of these four pillars. Every single decision that has been taken in these fifteen years - because this year we will celebrate the 15th anniversary of Bottega Veneta within the Kering Group - has been based on these four pillars. And this is also what is guiding us for our future.

Patrizio di Marco first, and then Marco Bizzarri after, drove the company following this idea, mainly by focusing their attention on this incredible growth in leather goods with the idea of the intrecciato, which in reality is the most visible part of the collection. It's only a part of the collection, but it's the most famous.
IA: I'm also curious about the actual growth drivers. Did it come from opening stores, expanding products? How did the business grow so quickly?
CB: At the beginning, Bottega Veneta was a sort of atelier and the key success story has been to maintain, even in this fast-growing story, the atelier approach. We are not talking about mass production, even if we are producing a huge number of products. The approach we have with our production today is similar to the original atelier. This has been one of the key success stories: to maintain the original craftsmanship.

Then, growth came by focusing on retail. The US was actually the first foreign market Bottega Veneta entered in 1972, but the brand really began to spread all over the world during the Kering era. Within five years, Japan became the first market for the brand, then China, the Middle East, the US, Europe, and today we have reached 246 stores [at the end of the first quarter of 2016]. The brand has been extremely successful in Asia, and is extremely appealing for Asian customers - that was one of the main pillars of its growth.
IA: The business has also had extremely healthy margins. Where did that come from?
CB: We don't have cathedrals. Tomas has always wanted to enforce the intimacy of the Bottega Veneta brand versus the gigantic version of spaces that we see in the luxury market. Bottega Veneta was a small artisan atelier based on leather goods. When Bottega Veneta started to open stores all over the world, mainly focused on accessories, big spaces were not needed. We have quite a large number of stores around the world, but with dimensions that, on average, are quite small because most of the stores are selling just leather goods. This limits the cost of the retail network, which, as you know, is one of the biggest [drivers] of the profitability of the brand.

IA: That brings me to today. A business like Bottega Veneta, once it reaches a certain scale, becomes more difficult to grow. The most recent quarterly results actually showed revenues going down - for the first time. The broader picture, of course, still looks quite healthy, but how do you find new avenues for growth without diluting this special brand?

CB: You know, growth first started to slow in the last quarter of 2015, and then it started to be more strongly affected during the first quarter of 2016. The dramatic decrease in tourists - not only in Europe, where we know the situation with the terrorism, but also in other countries - is dramatically impacting the results of the brand. However, we have already the first indicator that we are going in the right direction because - the first results of the new strategy and the store here in LA are giving us very positive signs.

We are now growing strongly with local customers, mainly in Europe. This is a great achievement for us because it's happening at a moment when things are difficult in Europe. We are also getting back to the focus on the US, which is still is the biggest luxury market in the world. Our portion [of sales] in the US is still limited, so there is huge room for improvement.

The challenge is to balance the short term results with a long term vision, and this is why we know we have to carefully manage the evolution of our collection, the expansion of our product categories, and the evolution of our retail network. We need to add new product, we need to add new categories, but that doesn't mean we want to expand the number of stores. But for sure, we need to expand the square metres and the perimeter of our stores. And again, Rodeo Drive is a clear example of what we have to do.
IA: Tell me about how this new store in LA exemplifies your new strategy. As you have said, many of your stores were smaller stores and now you're trying to expand into new categories which require more space. What does this new store tell us about your strategy?
CB: It is really the first store that clearly expresses our evolution as a brand. First, it's not the typical store, built with the same concept as everywhere in the world. Tomas' vision is to create stores in important cities and fashion capitals around the world that respect the local culture, that embrace the local habits with a special decor. This is why the first maison in Milan has been designed with a very Milanese approach and this maison on Rodeo Drive is very Californian in terms of design and architecture.

This also means adapting the brand to each location through the merchandising mix of the store. When I am talking about expanding the dimension of the store, doesn't mean that we want to bring all the product categories to every store, but we will focus our attention on the product categories that present a clear business opportunity in each location. The first evolution for us is shoes. In the LA store, there is a shoe department that we don't have anywhere in the world. Today, shoes are the new bags in the fashion business. If a few years ago the customer was buying two or three bags every year, today they buy four or five or six pairs of shoes. This is a natural evolution for a brand that has, at its core, a business in leather accessories.

Ready-to-wear is also fundamental in order to create a relationship with a local customer, especially in the US, which is a market driven ready-to-wear, rather than leather accessories. As one of the pillars of our strategy is to focus our attention on recruiting new local customers, we need to offer our American customers a sensational RTW collection. We are applying this kind of strategy in each city around the world.

IA: Tell me more about the US customer and the connection to ready-to-wear.

CB: I think it is a matter of habit. Historically, the first markets that approached luxury were European and American, and the first approach in fashion has been with ready-to-wear. If you think back to the 1980s, for Americans and Europeans, leather accessories were not what defined a fashion brand - it was ready-to-wear. In reality, the big accessories boom arrived with Asian customers, who were the first customer to approach fashion through leather accessories. Then this started to spread around the world. But the main categories in the US market, even today, are ready-to-wear and shoes.

IA: Ready-to-wear or shoes is a much more difficult business to run than a leather accessories business. Managing sizes and SKUs is more complicated in these categories. What do you have to do operationally to adapt to this new style of business?

Bottega Veneta store, Beverly Hills | Source: Courtesy

CB: What you are mentioning now is one of the reasons Bottega Veneta has been so successful with the leather accessories and why, until today, it has not been able to focus attention on the other product categories.

The company has been always organised around leather accessories. If you trace our supply chain system, it's based on leather accessories. When I joined Bottega Veneta with the vision and objective to bring the brand to the next level, one of the main points that I had to face was how to introduce into the culture the idea of the other product categories.

If you want to do a serious business in shoes, you need to be an expert in shoes, you need to have production directors that are trained in producing shoes. It's the same for ready-to-wear. So the first thing has been to really give dignity to the product category by creating a new business unit, starting from the design team all the way to the production. There are now specific teams devoted to each product category.

This had already started with Marco Bizzarri, who put in place the first shoes unit - not in Vicenza but in Padova, a village nearby - to create the culture that it is a business unit that needs to work by itself, with its own approach for managing the collection, the production and deliveries, which are arriving now in the stores, because the first big season for shoes is Winter 2016. We also need to train the sales staff, who have been fantastic in selling leather goods but were not trained to sell shoes. We need to create the right space and the right environment and then start working in a way that is specifically dedicated to shoes.

The next evolution will be in ready-to-wear. We are putting into place the new atelier for ready-to-wear with exactly the same approach that as we had with shoes - creating a business unit for ready-to-wear with a devoted team and strong expertise. This is a creative evolution for the brand, from a leather goods driven business to a multi-category lifestyle approach. In reality, this was already consistent with Tomas Maier's approach in designing the collection, but that had never been brought to the final customer - because at the end, the final customer has only been seeing leather goods.
IA: Given the focus on new categories and expanding stores rather than opening new ones, how do you maintain the profitability levels and growth expectations of the market?
CB: The first pillar [for growth] is, for sure, expanding into new categories - but not only this. The strong focus on the local customer is the second pillar. Today, we have to consider more the weight on the nationality than the weight on the region. That is the key point, because Chinese customers can shop in China, as is happening today, or in Europe, as was happening last year. The key point is to focus on the Chinese customer, to focus on the Japanese customer, to focus on the Americans, wherever they are shopping. This is an extremely a big change.

That brings me to the second point, which is the attention to the customer. What we really need to do today is build a strong relationship with our local customer, building a one-to-one relationship because that's what really makes a difference. Even when they are shopping online, they need a one-to-one approach, they need a sort of personalisation in the approach.

This year, we started a project called "Remote Customer Client Service," where for 24 hours a day we can [respond to] customer requests all over the world, in all languages, in whatever way they are in contact with Bottega Veneta - it could be by telephone, or online, e-mail, everything. We answer all their requests directly, immediately, on time. This makes a real difference for the customer.

We are not in a rush. We want to build a long-lasting business, we don't want to build a fire that then could expire in a few years. The key point is that Bottega Veneta aspires to be the first Italian brand in the absolute luxury segment, where today there are only French brands.
This interview has been edited and condensed. Disclosure: Imran Amed travelled to Los Angeles as a guest of Bottega Veneta. Related Articles Bottega Veneta Combines Women's and Men's S/S 2017 Shows to Celebrate Anniversary
[ Kering Misses Estimates, YSL Still Star Performer ]
Bottega Veneta Crosses the $1 Billion Mark

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BoF Exclusive | Carlo Beretta on Operation '€2 Billion Bottega Veneta'

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Bottega Veneta CEO Carlo Beretta tells BoF's Imran Amed about his plans to reinvigorate the brand and drive €2 billion in annual revenue.

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The brand focuses on demographic segmentation by targeting affluent individuals who appreciate luxury, quality, and timeless elegance. Additionally, Bottega Veneta may consider psychographic segmentation, targeting consumers who value craftsmanship, exclusivity, and understated luxury.

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Welcome to our series Style Guide - this is where we delve into some of the most popular styles from world renowned brands from all over the world.

This time we're guiding you through everything related to the Veneta from Bottega Veneta. How did it come to be and why does it look like it does? How do you style it and what materials does it come in? Read all about it below.

The birth and rise of the Veneta

Bottega Veneta was founded by Michele Taddei and Renzo Zengiaro in 1966 as a leather goods company and the company grew a loyal following in the 70s and 80s. The consumers enjoyed the discretion, quality and craftsmanship put into the brand and found it refreshing that the brand didn't rely on logos. The fan base included Jacqueline Kennedy, Andy Warhol and Lauren Hutton.

Instead the brand is known for their use of the intrecciato weave which they introduced in the early 1970s. It simply means that the leather is tightly woven so you won't have or see any stitches on the bag. In the beginning this method was only used for handbags but given its success, Bottega Veneta expanded the use to include all product categories. The weave is reimagined season after season meaning they you'll never go wrong with a woven Veneta.

Bottega Veneta decided to start using the intreccatio weave at this time, because it was hard to produce leather goods in the 1960s because of the quality of sewing machines at the time.

Logomania however hit the market hard in the 90s, meaning Bottega Veneta saw a dip in sales. The brand was then sold to the Gucci Group in 2001 and revived with the help of creative director Tomas Maier.

As seen on

Today, you can see the Veneta bag swung across the shoulder of celebrities like Kendall Jenner, Cameron Diaz, Hailey Bieber, multiple Kardashians and many other celebrities and influencers.

The inspiration behind the icon

The Veneta bag is a relaxed bag in a slouchy 'hobo' style. The smooth shape of the bag is rounded and forms a continuous curve that loops around the shoulder. The Veneta closes with a zipper, is fully lined and has multiple pockets.

Measurements

The Veneta bag from Bottega Veneta comes in three different sizes. The small measures approximately 23 cm x 14 cm (width x height), the medium approximately 38 cm x 26 cm and the large 44 cm x 31 cm.

Materials

Most Bottega Veneta bags are made from Nappa leather in order to achieve the classic, high-quality feel that you expect from the brand. Nappa leather is some of the most expensive as it's derived from the top layer of a hide. This means it's softer and more durable than other parts of the hide. Because of its high-quality, Nappa leather is the preferred leather for many leather retailers.

Bottega Veneta's headquarter is located in Milan in Italy and has two manufacturing units in Altavilla Vicentina and Malo, also in Italy. All Bottega Veneta pieces are produced in-house by the hands of highly skilled artisans and this is true for the exceptional Veneta bag as well.

What can you use it for?

Because the Veneta has a zipper closure and pockets, it's perfect for day to day to wear. The medium and large Veneta bags are large enough to carry your phone, wallet, a notepad for work and the large one can even carry a small sweater in case you get cold. Depending on what color you decide on, the medium and large Veneta can easily brighten up an otherwise understated outfit or you can choose a neutral color if you want it to blend in with your style.

The small Veneta is perfect for a sophisticated night out. It can still hold everything you need, but it doesn't come across quite as relaxed as the medium and the large because of its small size. This is a hand bag so you might not want to go dancing with it - but don't let us decide!

Care

The Veneta bag is made from woven leather and because of this, you need to take care of it in a certain way.

We know that it can be quite inconvenient but every time you're not using the bag, you should empty it out. This helps to make sure, you don't get stains on the inside from makeup, water bottles, pens and whatever else all of us have at the bottom of our bags. Besides being good for this reason, it's also because you should stuff your bag when it's not in use. This helps the bag keep its shape and ensures that it looks the best it can for the longest time possible.

Besides stuffing the bag - or laying it flat - you should always store your leather bags in their dust bag. This keeps the bag dry so it's not exposed to humidity as well as shield it from light to prevent discoloration and premature aging of the leather. Premature aging can lead to cracks in the leather which is definitely not something you want to happen to your Veneta.

What else can you do to make your bag as long-lasting as possible? For one, you can start by wiping it down with a dry microfiber cloth. This will remove dust and dirt to get ahead of nasty build up. Besides this, it's always a good idea to treat leather with a leather creme or conditioner. Some suggest once a month, others say less. You can do however much you want and have time for, but once a month sounds good to us. Leather creme or conditioner should be applied according to the instructions on the bottle.

Alberte Gram is a fashion writer based in London

The people pictured are not associated with The Archive

or The Vintage Bar, and do not endorse the products shown.

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Style Guide: Bottega Veneta Veneta | The Archive

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Welcome to our series Style Guide - this is where we delve into some of the most popular styles from world renowned brands from all over the world.

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Bottega Veneta Nappa

Nappa, also known as lambskin, is a soft buttery skin with a super fine grain that comes from, well, lambs. The hide is very thin and soft, making it ideal for weaving thus why it's almost always used to construct the iconic Intrecciato weave. The genius behind this technique that was developed when the brand was first established is what makes Bottega Veneta leather goods instantly recognizable. From shoes, to cosmetic pouches and handbags, Nappa Intrecciato is truly iconic. Any style especially classic silhouettes, such as the Jodie, the Veneta hobo, or the Olimpia Shoulder Bag, featuring this pattern makes for a sound investment.

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A Guide to Iconic Bottega Veneta Textiles - Academy by FASHIONPHILE

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We're breaking down the most commonly used Bottega Veneta textiles, what they mean, and the styles you can find them in.

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MILAN - Matthieu Blazy shows up in a Stone Island sweatshirt, bomber, jeans and cap, looking more like a teen ragazzo than the man who is about to debut his first collection as creative director of Bottega Veneta, one of the brightest jewels in the Kering crown. His predecessor Daniel Lee exited abruptly in November 2021. You can count the days Blazy, previously Lee's design director, has had to make something new. "I'll be honest, I'm pretty nervous," he concedes. "I hide it behind a big smile."

But if anyone's ready for such a challenge, it's him. "I really think now it's the right time. I have enough experience and I know myself a little bit better to be able to make an objective decision and not be scared by the consequences. It's a tough industry, but I know how to work with an atelier, I know how to work with a merchandising team. I know how the clothes are going to be translated into stock. I know how to work with a design team now. And I feel very comfortable with that. Now there is another scale, of course, like working with marketing imagery. But that's just adding something to what I knew already. So it's nice to be in charge."

He says he's been offered many creative directorships in the past but Bottega was the first one for which he felt really prepared. "This is really an environment where I can explore and work in an efficient way. Because of the link to craft, you have an incredible atelier. And it's interesting that Bottega is a company you can reinvent each time."

The last two re-inventions yielded major dividends for Kering. For close to two decades, Tomas Maier glossed the booming accessories business with alluringly cinematic film noir narratives. Daniel Lee went in the opposite direction, provoking rather than seducing, but still managing to galvanise a whole new audience for Bottega. "Obviously I built a relationship with a lot of people in the company in different positions. As a creative director, I can still have those kinds of relations."

Blazy's career stands on some remarkable shoulders. Following his graduation from Belgium's La Cambre in 2007, he worked as a menswear designer for Raf Simons. After four years at Margiela, he was headhunted by Phoebe Philo for her Céline, where he first met Daniel Lee. Then he rejoined Simons at Calvin Klein, working alongside Pieter Mulier, Blazy's partner, until Simons exited in 2019. Lee picked Blazy as his design director for ready-to-wear in 2020.

The comings and goings on that resumé - not just his own but some of the people he worked with, most controversially Lee's departure from Bottega - underscore the volatility that occasionally rears its head in fashion. Blazy's position is straightforward: no more drama. "I was given this position. I just put myself to work, without questioning the event too much."

"We talk a lot about the dramatic situation," he continues. "But you have everything that happened before and that was also an epiphany. I mean, we work in a tricky industry, but instead of just talking about the drama, I think it's also important to talk about all the good things that were produced in that industry. I've learned a lot from every situation I've been in. Raf was an education. Margiela was an exploration. Calvin was an adventure. I will always remember the head of atelier at Celine from whom I learned so much about just making great clothes. And the way Phoebe put things together with such incredible style and instinct. I really took a lot of good things from them all." And Blazy has distilled it into his own code: "Follow your gut, stick to something quite primitive as an idea, don't overwork it, edit down. And if your idea becomes something that is not yours anymore, cancel it."

Though he calls himself Belgian, Blazy was raised in Paris, his father French, his mother born in Antwerp. They both worked in the art world. Blazy says he spent his entire life at the auction house Drouot. 'When you arrive, you just have this huge mass of objects from all around the world, and somehow they always create something quite coherent. One day you can buy a bed, the next day, it's gonna be a Kees van Dongen painting. But the juxtaposition works. And my approach at Margiela was to take a lot of things that I liked and to kind of collage them. like the Exquisite Corpse game the Surrealists played. And then the solution was very simple. Does it work? Does it make sense to me? Sometimes it created a kind of monster, but in the best way. It's interesting because it opened new doors: take something from the 20s and connect it with something produced by Nike to make something new."

Blazy's approach blossomed in a string of stunning collections for Margiela's "Artisanal" label, not so much haute couture as haute collage. The source material was encyclopaedic: prom dresses from the 50s, costumes from the Beijing Opera, Art Nouveau curtains, Frank Lloyd Wright textiles, Bauhaus tapestries and on and on across time and space. The models wore eerie masks that were like art pieces in themselves. They understandably generated an enormous amount of attention. Kanye West, pop cultural weathervane, sported the densely beaded facehuggers from Autumn 2013 on tour.

It was typical of Maison Margiela that the collections were attributed to the design collective rather than any single individual in the team, though in this case the attribution was slightly perverse given the radical idiosyncrasy of Blazy's work. But he found the anonymity convenient, relieving him of the stress of being put in front of everyone, at the same time as it allowed him to push his designs.

"I like the idea of luxury in motion, and I think the clothes should follow that."

At Margiela, his office was in the atelier. He describes his work there as "a constant conversation, between me giving directions, inspiration, correcting things, and then working directly with the people that were making and producing those clothes." Bottega has been somewhat the same. "You can speak directly with the people that make the clothes, with the people that make the bags. You don't talk just to designers, you talk to the makers. And this I find incredible." It suddenly strikes Blazy that Bottega Veneta is something of a collective itself. "It's a factory, an Italian workshop, which is quite close to Margiela if you think about it, the idea of that maison workshop."

"What really interests me at Bottega is that, first, it's a bag company. So, it's purely pragmatic. And if you have a bag company, it means that you have motion. You're going somewhere with a bag," he says. "I like the idea of luxury in motion, and I think the clothes should follow that. Today, when you look at all the clothes that are made, everything is made as an image, nothing is made to really move again. Or else it's sportswear. So that's the kind of field I want to explore."

Of course, there will be bags. "A lot of leather, but nothing moulded, nothing made by machine. Everything is really 100 percent handmade, and we did a lot of bags that have absolutely no stitching. They've created an object solely by weaving. I don't think you have to always reinvent something if it works so well. So we've proposed new shapes, but the technique is the same."

If there's one word that Blazy seems partial to, it's "pragmatic." He claims that's what defines him as Belgian. It's also the word he uses to describe his own approach to Bottega. He rattles off a self-inquisition: How do you feel when you wear the clothes? What is luxury? Is grey flannel relevant? Does it need to scream luxury? Is it modern because it's made by a machine? Can you still create the idea of motion and energy without falling into sportswear? What would Gianni Agnelli wear? These are the questions you can expect Blazy will be trying to answer with his first show. I have my own query: Why Agnelli? "Because it's an Italian brand and you're talking about someone who didn't look 'fashion,' just looked stylish. You know, the idea of an allure."

"I want to reconnect with an Italian pedigree," Blazy adds. "When Bottega was created in the '70s there was an incredible scene in Italy, with architects, filmmakers, furniture designers. And look at the great stuff happening in Venice, whether it's dance, art, the cinema. I really want to root it back there."

"So this first show for me is a base on which I'm going to build. I really want to go back to the idea of quiet power, the wardrobe. Style over screaming image. I wonder if people are going to expect me to show masks and a monster silhouette. You know, I'm also interested in just making a great pair of trousers. Can you move in them? Do they feel comfortable? Do they look good? Do you have a sense of allure and style in them? Seduction is an important word in the collection. I'm really obsessed by everything Carlo Mollino did, from his furniture to his photography. His women show a lot of flesh but they are very empowered. They don't look like sexualised '90s trash. They own their sexuality, their sensuality. This I found really interesting to explore for Bottega. The idea of flesh, and maybe a more mature sexuality."

Blazy has spoken in the past about how much he values the uniqueness and emotion of vintage clothing. He and Mulier have a huge archive in Antwerp, not just of vintage fashion, but of vernacular clothing, too, like work clothes, lingerie, even a collection of clown costumes. Mulier is now in his second year as creative director of Alaïa in Paris, which, with Blazy at Bottega in Milan, makes for fashion's most fascinating power couple. And perhaps its most tortured, not only in terms of the time they no longer get to spend together, but also with all the topics that must remain off the table in their conversations. In a funny way, the archive has been a big help. "During the first lockdown, we really reorganised it, and it was a good opening to discuss fashion with Peter without talking about our jobs. We never talk about work. We never show each other anything. Never. But we always talk about fashion and art and design."

And if vintage was able to offer some emotional succour during their lockdowns, it has obviously served Blazy incredibly well in his own career. "But I felt like I had to turn that page a little bit," he says now. He didn't work with vintage at all for his Bottega debut, though there was one image he cherished while he was designing because he says it so beautifully conveyed the emotion that attaches itself to clothes. It's a random photograph from the '40s of a boy wearing a handknit sweater. "Probably made by his grandmother, and it's not well-made, which is also quite beautiful. But the pride he has wearing it! I like the idea that he's going to keep this sweater forever because it's very precious. And it looks precious, although it isn't at all. So, we also looked for that when we were making the clothes. Do they look like they have emotion? The question was always: could they be unique? Not that we try to do something vintage, that's not the idea at all. It's more when you look at this, can it become precious to you? Does it look handmade? Is it perfect? Not really. But would I wear it? Yes, immediately."

"This I found really interesting to explore for Bottega. The idea of flesh, and maybe a more mature sexuality."

"This obsession with technology and newness, I find it's something that I question. Because it may be new in the manufacturing but is the result really new? You can't say about craft and hand-making that it's out of date. It's not because you make something by hand that it's not new. It's really the question of longevity. Craft for me is timeless. What I question is the obsession with that, in always trying to make something that looks visually new, you have to use a new technology. I think it's wrong."

And yet Daniel Lee did seem to light on "newness" at Bottega by confounding people's expectations. If everybody's talking about the search for beauty in fashion, give them things that border on ugly and they look new, or, at the very least, unexpected. This idea excites Blazy. He asks if I know the Italian intellectual Umberto Eco's influential text "History of Ugliness,' with its proposal that ugliness is more fun than beauty. "We could talk all day about that. Look at what Miuccia says about the quest for beauty through ugliness. I think it resonates in all of history. But the question for me is not so much, 'Is it ugly or beautiful?' but 'Am I attracted to it, and why?' Some people might find it very ugly and I'm fine with that." For example, you'll see lace in the new collection. Blazy doesn't like lace but he was so attracted to the incredible lace-clad women in Carlo Mollino's work that he felt he needed to explore his aversion a bit more, to understand, maybe even dismiss it.

There is clearly a particularly bright spotlight on Blazy, given the circumstances of his ascent at Bottega and expectations that he will keep up the brand's momentum. "Obviously the proposal is very different, but for me the continuity comes with the craft."

One touchstone for the new collection is a 1913 sculpture by the Italian Futurist Umberto Boccioni. He first came across it in one of his parents' art books. Its full title is "Unique Forms of Continuity in Space" and it captures a muscular man in mid-movement. It looks a little like a Francis Bacon rendered in bronze rather than paint. "There is something extremely alluring about it. It goes somewhere. There are a few silhouettes that I really want to express that idea of motion."

"When you look at this, can it become precious to you? Does it look handmade? The obsession with technology and newness is something that I question."

The Boccioni inspired Blazy to address the two-dimensionality of fashion. "It's funny to think that most of what the audience sees on Vogue Runway is two-dimensional. We never talk about the profile anymore, or the back. So we've challenged ourselves on this idea. Maybe it's very boring from the front, reading in 2D, like a certain idea of classicism, and then when you experiment with the silhouette in profile, you have this idea of the allure, the movement. I also like the idea to work on the back, to really go back to the idea of 3D-ness around the silhouette."

How the clothes will be perceived on the catwalk brings us to the issue of presentation. Over the past two years, Lee introduced his collections with a series of unpredictable, often tech-y interventions. And when it was finally possible to stage a proper old-school show, he chose Detroit as his venue. Under Blazy, Bottega, like Kering anchor Gucci, is back on the fashion calendar in Milan. It's a homecoming both literal and figurative. "I don't think that being radical is always the right solution for radicalism," he explains. "It's also interesting to work within the framework of the industry. Sometimes you're more creative. You can do whatever you want. I'm very comfortable with the idea of showing back in Milan. We're doing the show in the new headquarters which are completely destroyed at the moment. I thought it was nice to already connect what we are doing now to that new building. I'm not saying that every show will be Milan but for now, I think it was nice to reconnect and also be part of a bigger conversation."

The show invitation is a piece of green leather, left over from the bags. "I think it was interesting to touch the quality, something very physical," says Blazy. It's been two years since Lee imposed that very specific green in an effort to create a visual identity for Bottega, like Hermès with its orange or Tiffany with its robin's-egg blue. It was a typically provocative gesture. Green is traditionally a very hard sell at retail. And, according to Blazy, green perfumes don't sell either. (He has always worn one: Vetiver by Guerlain). So why hold on to this ambiguous fragment of the immediate past?

Blazy accepts the inevitability of a teething period while he takes over. That's why he's still drawn to the green. It's the same shade as the greenscreen in cinema, where anything can be made to happen. "You have this transition from Daniel to me, so why not push the green as a screen?" It's already happening on the app Bottega just launched. "We can project any imagery to maintain a conversation with people who are interested in seeing what we're doing."

"We'll see, you know," Blazy adds. "Today I'm telling you flannel, tomorrow I may be telling you baroque and in five seasons, maybe it's going to be about the matrix." Fine with me, as long as it's not green.

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Bottega Veneta: Everything Old Is New Again

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In the driver's seat after the abrupt exit of his predecessor, young Belgian Matthieu Blazy aims to reconnect the brand with its Italian pedigree, elevating emotion and handcraft over 'obsession with technology and newness.'

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California Transparency in Supply Chains Act of 2010
Corporate Disclosure

The California Transparency in Supply Chains Act of 2010 (SB 657) requires California businesses to disclose their efforts to address the issues of slavery and human trafficking, thereby allowing consumers to make better, more-informed choices regarding the products they buy and the companies they choose to support.

Bottega Veneta has taken steps to evaluate the risks of forced labor in our supply chain. Within Bottega Veneta, procurement falls into two broad categories: (1) sourcing of raw materials such as textiles and leather; and (2) procurement of other types of goods and services to support the day-to-day running of our operations, such as energy, manufacturing, and office equipment. Although the social impact of the goods and services that Bottega Veneta purchases often lies outside our direct control, where possible, we have taken proactive steps to ensure the absence of slavery and human trafficking in our supply chain.

Bottega Veneta is part of Kering (formerly "PPR"), which has certified several of its businesses under Social Accountability International's (SAI) SA8000 standard. SA8000 sets out a strong approach concerning forced labor and provides guidance to suppliers and business partners regarding responsible sourcing. SA8000 includes an endorsement by the International Labour Organisation (ILO) Conventions and the Universal Declaration of Human Rights. Among other things, SA8000 specifically forbids the use of forced or involuntary labor as defined in ILO Convention 29, including employment of people under the age of 15, unless a higher age is required by law, in which case the higher age applies. While several of Kering's businesses have certification under SA8000, Kering continues its commitment to bring all of its businesses into compliance with SA8000 and obtain certification.

As part of SA8000, Bottega Veneta's suppliers, subcontractors and subsuppliers will be required to make a written commitment to all SA8000 requirements, participate in monitoring activities as requested by Bottega Veneta, promptly resolve any nonconformance with SA8000, and notify Bottega Veneta concerning any relevant business relationships. Moreover, by virtue of our adherence to SA8000, Bottega Veneta will be subject to announced and unannounced audits to determine compliance with the SA8000 standard, and Bottega Veneta's suppliers are subject to the same. Kering's standard supply agreements refer to and adopt the SA8000 requirements, obligating its suppliers to comply with the standard. The brands of Kering also often use several of the same suppliers, subcontractors and subsuppliers, so to the extent that certain businesses of Kering are already certified, other businesses of Kering that are not yet certified have been well positioned to be in compliance with SA8000 and obtain formal certification.

Kering's internal policies also articulate its determination to rid its supply chain of human trafficking and forced labor. For example, Kering's Code of Ethics states that its businesses will not tolerate child or forced labor in the production of its products.

Bottega Veneta expects and depends on our managers and employees to uphold a zero-tolerance policy regarding forced labor. As such, Bottega Veneta has taken steps to increase employee awareness and compliance regarding slavery and human trafficking issues. Kering's Code of Ethics is provided to all employees and suppliers. Employees are encouraged to report violations of the Code of Ethics. Moreover, as part of SA8000 certification, the standard will be displayed at business locations to inform personnel about Kering's voluntary commitment to this standard and its requirements. Kering will provide a confidential way for Bottega Veneta personnel to report nonconformance with SA8000 to management and, where appropriate, Bottega Veneta provides and requires specific training programs regarding supply chain issues.

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BOTTEGA VENETA INVESTS IN THIRD PRODUCTION PLANT

Further strengthening its ties with its homeland, the Veneto region, Bottega Veneta will expand its Manifattura Veneta Pelletterie facility, the brand's manufacturing company that since 2011 produces over 50 percent of its leather goods between two factories and around 20 supply chain partners.

The existing factories, located in Altavilla Vicentina and Malo, employ 300 skilled artisans who are specialized in the various production stages of bags, shoes, belts, and small leather goods, from the selection and cutting of the leathers to assembly and quality control.

The third Manifattura Veneta Pelletterie factory, set to bow at the end of 2020 and employ around 200 people, will be based in Povolaro di Dueville. It will be housed in a 6,000 square-meter modernbuilding that bonds hand-made craftsmanship with avant-garde technology.

This new project earmarks an important step in Bottega Veneta's successful quest to balance the highest standards of excellence with the flexibility required by creative requests.

The new factory also reflects the house's commitment to its home territory and inhabitants with the hiring of 100 new workers in various fields, who will be supported by specific training programs aimed at transmitting Bottega Veneta's unique skills and outstanding craftsmanship.

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BOTTEGA VENETA INVESTS IN THIRD PRODUCTION PLANT - Antonia

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Craft in Motion, a film by Bottega Veneta

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Bottega Veneta has grown from a family company to a 1.5 billion euro global group, through changes in ownership, creativity and leadership.

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Bottega Veneta Welcome The Colourful World of Gaetano Pesce For Salon Del Mobile 2023 | SHOWstudio

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The world-renowned designer, Italian architect Gaetano Pesce, has created two bag designs for Bottega Veneta for Milan Design Week 2023.

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Daxue Consulting - Market Research and Consulting China

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Bottega Veneta opened its first boutique in China in Shanghai in 2007, and then quickly expanded to other Tier-1 cities such as Beijing, Shenzhen, and Guangzhou. It became part of the second wave of luxury brands to come to China, after the country proved to be a fruitful market for luxury brands. The brand continued building on its crucial values - simplicity and quality, and promoting its branded designs, especially the "intrecciato" - a leather weaving technique the company is known for.

Download our report on the future of sustainable fashion in China

Bottega Veneta initially thrived in China as a niche brand but faced difficulties in its early years in the market. A key factor was its unique visual identity strategy: the brand deliberately avoided a prominent logo. This contrasted with prevailing consumer desires for recognizable products that symbolized status.

The brand suffered from low sales in the years before the pandemic, especially between 2015 and 2018. Globally, its sales started to slow down in 2015, falling by nearly 10 percent to $1.4 billion in 2016 and stagnating in 2017. In this period, the company switched a few creative directors, settling for Matthieu Blazy.

Bottega Veneta quitting social media, but not in China

The luxury maison caught the wide public's attention in 2021, when it started its "social media blackout" and removed itself from all its Western social media accounts.

Then, designer Daniel Lee told the Guardian: "Social media represent the homogenisation of culture. Everyone sees the same stream of content. A huge amount of thought goes into what I do, and social media oversimplifies it." This move was seen by the public as an attempt to emphasize exclusivity while embracing mystery and intrigue.

Despite closing its other social media accounts in the country, it decided to maintain its presence on WeChat, emphasizing the platform's significance for e-commerce-a vital sales channel that couldn't be cut off.

Later, in April 2022, the brand reopened its Little Red Book account, followed by a return to Weibo in February 2023. These changes mark a shift in the Bottega Veneta's strategy to enhance its visibility in China while still preserving an aura of exclusivity. In an interview, the firm's CEO explained that Wechat is a core instrument to demonstrate the brand's history and background, while Little Red Book is needed for direct interaction with users.

The brand's "invisible" stores and the rise of quiet luxury

What always made Bottega Veneta stand out from other luxury brands was the absence of a logo on its products. This has served both as a strength and a flaw, but it has recently become a clear benefit with the rise of the "quiet luxury" trend. Customers no longer seek to display their affluence openly. Instead, customers start to prioritize quality and tailored customer service offered by brands with timeless and chic items.

The notion of keeping a low profile is deeply entwined with the brand's strategy on social media and in offline stores. In 2020, Bottega Veneta opened an "invisible store" in Shanghai. This unique pop-up store was discreetly positioned within a shopping mall, designed with mirror walls that seamlessly merged it into the surroundings, rendering it imperceptible at first glance.

Bottega Veneta continued its strategy by opening similar stores in other cities. Each store adopts a unique theme. For example, the pop-up store in Beijing used recycled aluminum blocks to assemble display devices. The company's core aim is to showcase their products in a way that highlights intricate details and underscores their distinctive qualities.

Balancing understated luxury and environmental responsibility

In China, the concept of "quiet luxury" has gained considerable traction, primarily as a response to the saturation of luxury brands. As more individuals gain access to luxury goods, consumers seek exclusivity and a sense of uniqueness. This shift becomes particularly pronounced during economic slowdowns when affluent customers tend to adopt a more understated approach, shying away from ostentation. Furthermore, inconspicuousness aligns seamlessly with the prevailing minimalist, clean-fit, and old-money fashion trends.

Furthermore, the Italian luxury maison is also adopting eco-friendly practices. In November 2022, Bottega Veneta started rolling out its new Certificate of Craft program, a new service that offers life-time warranty and unlimited repairing for any Bottega Veneta handbag. The brand explained this novelty with the company's desire to offer long-term preservation of products, focus on responsible growth and reduce the need for replacement.

This approach has gained significance, especially because an increasing number of consumers in China have started valuing sustainability. Bottega Veneta's focus is not only on providing timeless design and long-living products, but also on helping reduce waste and avoiding continuous purchases in pursuit of changing fashion trends.

Bottega Veneta's cultural connection: celebrating Chinese traditions and festivals

In the current era of Guochao, it is crucial for brands to stay closely connected to Chinese culture. Bottega Veneta employs various effective strategies, such as Chinese models in their advertisements, collaborating with Chinese creative teams, producing content within China, and crafting collections and advertisements inspired by local holidays.

For example, for the Chinese New Year in 2022, Bottega Veneta installed a big advertisement on the Great Wall of China. The screen featured the phrase "Happy Chinese New Year" in Chinese characters, along with the Bottega Veneta logo displayed in the brand's signature colors. Alongside this initiative, the Italian brand also pledged a donation to support the renovation and maintenance of the "Shanhai Pass," the starting point of the eastern end of the Great Wall.

The following year, the brand commemorated the Spring festival again. It released a short film titled " Reunion in motion ", which underlined the tradition of families coming together to celebrate the new year. Through this film, the brand aimed to convey the idea that time holds the essence of true luxury. The release was accompanied by a customizable e-card that was available to anyone on Wechat.

Bottega Veneta's remarkable return to social media

In 2023, Bottega Veneta hosted a fashion show in Beijing, the first time the brand presented a physical show in China. The preparation of this show was the reason for the reactivation of the brand's Weibo account: it served as a platform teasing the company's new collection. The choice of Beijing as the place to uncover the new line was seen as a demonstration of the importance of the Chinese market for the brand.

The efforts of the company will likely prove to be successful. In Kering's investor presentation for H1 2023, the group disclosed strong trends across the Asia-Pacific region and emphasized the potential provided by Chinese clients. Indeed, the anticipated fashion show was live streamed on Weibo and Wechat, which generated more than 36 million views combined. As of August 29, 2023, the Wechat livestream became the highest-ranking event in the luxury category since May.

So far, supported by the trends of quiet luxury and by the country's pursuit of Common Prosperity, Bottega Veneta is seeing improvements in China. Although the brand showed that it cannot sustain absence from social media in China, the company employs its "invisibility" concept in other ways, creating a sense of exclusivity in its customers.

Embracing culture, sustainability, and exclusivity

Bottega Veneta entered China's luxury market in 2007, embracing simplicity and quality as its core values.

The brand faced challenges in China due to its logo-free identity and suffered from low sales, which led to a change in creative directors.

In 2021, Bottega Veneta gained attention globally by exiting Western social media platforms as part of a strategy to emphasize exclusivity and mystery.

However, it maintained its presence on WeChat and later returned to platforms like Little Red Book and Weibo to enhance its visibility while preserving exclusivity.

Bottega Veneta's "quiet luxury" approach, eco-friendly practices, and cultural adaptations have contributed to its success in the Chinese market, with its recent fashion show in Beijing highlighting the importance of Chinese clients.

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Bottega Veneta in China: blending "quiet luxury" with local culture

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Bottega Veneta in China established its presence in 2007, joining the second wave of luxury brands entering the country, and emphasiz...

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According to data provided by Adwired, Italian luxury fashion brand Bottega Veneta was valued at 4.96 billion euros on January 1, 2022. The brand had 261 stores across the world in 2020.

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Bottega Veneta: Brand value 2022 | Statista

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According to data provided by Adwired, Italian luxury fashion brand Bottega Veneta was valued at 4.96 billion euros on January 1, 2022.