BOT­TEGA

Harper’s Bazaar (Malaysia) - - The News Bazaar -

A master of pared-down pre­ci­sion, Bot­tega Veneta’s To­mas Maier is renowned for his sin­gu­lar vi­sion, but the Ger­man-born de­signer also knows the value of a sec­ond pair of eyes. For the past 10 years, Maier has worked with dif­fer­ent artists each sea­son to pho­to­graph Bot­tega Veneta’s cam­paigns, re­sult­ing in hun­dreds of orig­i­nal fash­ion images that com­prise the new book Bot­tega Veneta: Art Of Col­lab­o­ra­tion, out since Oc­to­ber. Here, he dis­cusses the project with his friend – a woman who knows a thing or two about cre­ativ­ity and ex­act­ing stan­dards – Martha Stew­art. MARTHA STEW­ART: When are you com­ing up to Maine next? I want to climb the Precipice Trail with you again. The fal­cons are still nest­ing there now, so it’s closed, but we could do it in the fall. TO­MAS MAIER: Hope­fully soon. I have fond mem­o­ries of that hike. MS: I was try­ing to re­mem­ber the first time we met, but I’m not sure when it was. TM: It’s been quite a while. I think I in­vited you to some­thing for Bot­tega Veneta be­cause I thought you might ap­pre­ci­ate it. MS: Which, of course, I did and I do. I’ve been look­ing at this mas­sive book you’ve made. It’s quite some­thing to see all th­ese artists you’ve worked with at Bot­tega. Ob­vi­ously, you and I share a love of art as well as pho­tog­ra­phy and ar­chi­tec­ture. How does your in­ter­est in those things af­fect the way you de­sign? TM: It’s al­ways an in­spi­ra­tion, but never a lit­eral one. I’ve looked at a lot of art through­out my life, and ideas come into the back of my brain that orig­i­nate from things that I’ve seen, but it’s never be­cause I went to see a spe­cific show at the Met. Themed col­lec­tions are not my taste. I like to make some­thing and then let some­body else see it through their eyes, through their lens, and tell the story from their per­spec­tive. It’s the same with a client – when a woman puts some­thing on, she makes it her own. MS: You’ve worked with some of my fa­vorite pho­tog­ra­phers, like Nobuyoshi Araki and Robert Poli­dori. How do you choose from sea­son to sea­son? TM: All the peo­ple I work with, like Araki, cre­ate im­agery that’s recog­nis­able and in­di­vid­ual. I al­ways want to give artists lots of free­dom with the images. I wanted Nan Goldin’s pho­to­graphs to look like her work. For some, the pic­tures were de­pen­dent on ar­chi­tec­ture – like Robert Poli­dori, who did our shoot in Venice. When Ryan McGin­ley shot in the New York Botan­i­cal Gar­den in the Bronx, it

To­mas Maier

Cloth­ing; and ac­ces­sories, all from Bot­tega Veneta

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