Tomas Maier is a dress guy. And a breast guy, a focus that put a sly fetishistic asterisk on his lovely, even ladylike collection for Bottega Veneta. Would the women who would appreciate the subtle chic of these clothes, and there are plenty, want people staring at their personal assets? That question — and a few offending push-up wires and curious seams — aside, the clothes looked strong as Maier proposed a range of appealing dresses, almost always in neutrals or shades of grape and lilac. Shadow-striped washed velvet chemises had a vaguely Twenties feel, while a black wool draped to one side saluted Eastward, and sheaths got an attitude infusion from interesting surface textures.

Maier’s outerwear, whether a leather trench, fluffy lilac shearling or pristine white cashmere that radiated serene strength, looked consistently terrific. Aside from gowns with some major fluid skirt action going on, such coats were his only interest beyond the dresses.

Or they were his only interest in terms of clothes. Almost every day look had a handbag. They came big, small and in-between, in croc, python and all sorts of leather treatments, and many were standouts. He also turned some serious attention to Bottega’s growing jewelry business. In fact, a trio of rhinestone-trimmed velvet dresses seemed to have been designed as backdrops for beautifully glitzy necklaces, earrings and hair combs. Dress and even body-part obsessions might come and go, but once an accessories guy, always an accessories guy.