The Bottega Veneta SS27 collection, presented in Milan on 26 September 2026, placed the house’s founding obsession with craft front and centre, and made a convincing case that intrecciato is a more interesting signature than any printed logo. According to A Hand Tailored Suit, the show embodied what they called “the art of lightness”, and watching creative director Louise Trotter work through that idea across a full collection, the phrase earns its keep.
Intrecciato as a Starting Point, Not a Safety Net
Trotter took the house’s signature weave as the literal and conceptual spine of the Bottega Veneta SS27 collection. The interpretations ranged from the direct to the abstract. A longline coat was knotted at one side to reveal a light cotton dress beneath. A fringed scarf belt looped back on itself, adding dimension to a relaxed suit. A T-shirt arrived in a sturdy basket-weave construction that gave an everyday piece an almost architectural presence.
Leather, always a brand signature, showed up in jackets and trousers throughout, yet the clothes managed to feel light. Trotter achieved that springtime quality through texture and movement rather than the sheer fabrics and lace that dominated many other Milan collections this season. An enlarged intrecciato tote had the look of raffia. Crochet overshirts added an airy, openwork layer. A macramé-esque tank was paired with a gauzy, lightly pleated maxi skirt. Lightness, in other words, engineered rather than assumed.
Colour surfaced sparingly in what was largely a neutral collection: butter-yellow trousers and a lilac blouse on Mariacarla Boscono, and a tangerine-orange scoop-neck leather midi. Two fringe skirts (one lavender, the other an earthy mix of colours) had hems that lifted into elliptical shapes as the models walked, which is the sort of thing that photographs well but is genuinely better in motion. Fringe also appeared on a dress in a trompe l’oeil floral pattern.
The Pouch Returns, Reworked in Several Forms
Bags were far from an afterthought. Trotter resurrected the Pouch in a range of forms, including smooth leather dustbag-inspired versions finished with drawstring tassels, according to PurseBlog. There was also an intrecciato interpretation of the original Bottega Veneta Pouch, updated with smooth leather sides and a leather drawstring closure, a house classic reframed rather than simply re-issued. Given how central the Pouch has been to the label’s recent history, bringing it back in several reworked guises reads as a deliberate statement about continuity and reinvention in the same breath.
A Front Row That Knew It Was Being Watched
For all the restraint in the clothes, Bottega Veneta pulled one of the starriest front rows at Milan Fashion Week. Julianne Moore, Tyler, the Creator, and Jacob Elordi (there to support his girlfriend, Kendall Jenner, who closed the show) all took their seats on lacquered cardboard stools by Berlin-based artist Ilya Goldman Gubin, each crumpled slightly by his embrace.
It was a considered touch. The stools, handmade objects bearing the marks of physical contact, extended the collection’s craft argument off the runway and into the room. At the Bottega Veneta SS27 show, the point was clear: craft here is a philosophy, not a talking point, and it applies to everything from an intrecciato tote to the furniture you park a film star on. Jenner closing the show in a house that prizes making things well over making things loud felt like a summation of exactly that idea.
