During a visit to the atelier, a few days before her third runway show for Bottega Veneta, Louise Trotter – a British designer based in Milan – shared her reflections on the collection. "The collection," she explained, "is an observation of how we transition from one season to another... I come from the Northern Hemisphere; it is therefore quite unusual for me to live in a city where one can truly feel the four seasons, these being an integral part of our way of life here. I wanted to express this in-between: the transition between what we perceive as protection – winter – and the act of undressing as spring and summer approach." Louise Trotter, though an outsider in Italy, is gradually finding her footing within the Bottega Veneta brand. She is not a designer who is guided by storytelling; rather, it is the materials, and the effects she can achieve with them, that fascinate her. During her first two seasons, the richness of the resources and the exceptional artisanal expertise available tended to weigh down her creations, particularly the feminine models. This time, she has fully let in the light. Staying true to the directions outlined during the previous preview, the show began with outerwear pieces. The coats featured padded and slightly exaggerated shoulders, while some hems were tied, "as if one were about to enter water." It is a fantasy that would make most women hesitate given the prices practiced by Bottega Veneta, but Louise Trotter's insistence on the everyday nature of her precious creations is appealing. Additionally, fine leather braided intrecciato scarves, tied around the waist, highlighted the atelier's craftsmanship. Bright pastels briefly appeared in the middle of the show: a lilac top worn over a blue and white striped shirt (style "office") and a butter-yellow chino pants captured the audience's attention, as did the ensemble composed of a draped floral patterned top with fringes and a matching skirt, whose movements animated the walk on the runway. Spring was clearly present. Summer then took over with a series of silhouettes combining hand-made white lace patchwork, large mesh crochet, and large-scale intrecciato braiding. A bright red cotton dress featured a pleated waist and a side knot, all worn over a wide pleated skirt of the same electric shade. Finally, the little black dresses were adorned with interwoven silk fringe. Louise Trotter's Bottega Veneta, like that of her predecessor, targets an audience of art enthusiasts who prioritize artisanal craftsmanship and creativity, even in the earrings, which appeared sculpted from clay or braided from leather, and were often worn mismatched. However, a long asymmetrical black dress, simple and without embellishments, provided a welcome contrast. A few more pieces of this kind, and Louise Trotter will have found the right balance.