There comes a point in one’s tenure and life when coming to terms with your roots can no longer be avoided. It is the moment that defines you and allows you to take the next step and define who you actually are. That moment arrived for creative director Marco de Vincenzo, in his role at Etro, with the brand’s latest collection.
As De Vincenzo dives deeper into the fashion house, the more the question of what Etro is becomes fascinating. Of course, the question is not simply answered in one line or word, but instead, it is a work in progress, a dialogue, exactly like the setting for this show – a historic palazzo, which is now a construction site, freshly wrapped or ready to be unwrapped. In the same sense, delving into the storied history of a fashion house is akin to an archaeological undertaking, one De Vincenzo has now embarked on.
This journey and undertaking are radical – a spirit that runs through Etro. Radical was the moment that coincided with the founding of the brand in 1968, but most of all, it was radical in the original sense of the word. The term radical comes from the Latin radicalis, which means root, and Etro’s roots are in fabrics and prints – tartans, cravatteria motifs and paisley. All of these have made a comeback today with a new sense of precision and a psychedelic proclivity for sharp cuts in the rhythm of patterns. The collection comes together instinctively – long billowing dresses are paired with chunky knits and androgynous trousers. Vests are thrown in with silk blouses while tailoring in opulent fabrics is tall and precise. Denim pants peek a boo to bring a radical look to Etro’s collection. Etro is ultimately an entire world and De Vincenzo borrowed home furnishings for his collection. Here, blankets are borrowed and wrapped on light dresses, while fringes hang along the hems of chunky polos and scarves.
Keeping the concept in the foreground, De Vincenzo shaped Etro’s accessories for the season radically. The Aladdin clogs are transformed into boots, and polished Mary Janes are crafted with thick heels and a platform. Leather cut totes are oversized and give a domestic feel, while Etro’s new Saturno bucket is appropriately and positively moody.
The collection is ultimately De Vincenzo’s moment of confrontation with who he was and defines who he, and Etro, will be.
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