That moment, for Marco De Vincenzo, happens now. The more the creative director delves into Etro, the more the dialogue with what Etro is becomes compelling. The answer to such an exchange, of course, cannot be summed in one sentence. A dialogue is a work in progress, exactly like the place that frames the show today: an historic palazzo turned into a construction site, just wrapped or ready to be unwrapped. Delving into the history of a brand, after all, is an archaeological undertaking.
For sure, this choice is quite radical, which is exactly the spirit Marco De Vincenzo is after. Radical as a moment in history which coincides with the foundation of Etro in 1968. Radical, most of all, in the original sense of the word. The origin of radical, in fact, isn’t at all radical. Borrowed from Late Latin radicalis, it means root. The roots of Etro are in fabric and print: tartans, cravatteria motifs and, of course, paisley. All of it comes back today, framed by a new sense of precision, by a psychedelic proclivity for sharp cuts and the rhythm of patterns. Things come together instinctively, as long billowy dresses are paired with droopy, chunky knits, and androgynous trousers and vests are mingled with silk blouses. Tailoring is tall and precise, in opulent fabrications. Necktie motifs swarm on enveloping coats with contrast prints on the inside. Denim pants peek a boo, hinting, indeed, at a radical look. Etro being a whole world, elements of home furnishing are borrowed, with blankets wrapped on light dresses. Fringes dance along the hem of chunky polos and scarves, while applique gives argyle knit a three-dimensional charm.
Accessories are just as radical: the aladdin clogs become boots, while polished mary janes have thick heels and a platform. Oversized laser-cut totes provide a domestic feel; the new Saturno bucket is appropriately and positively moody.
Radical as a way to confront who one was to define what one will be.
Photos: Courtesy of Etro