There’s this tricky thing about Italian brands that used to be family-owned. Once a new designer, who never worked with that family, takes over the steers, a hard identity crisis begins for good. This Milan Fashion Week, on the same day, there were two such debuts: Filippo Grazioli at Missoni and Marco De Vincenzo at Etro. Both delivered highly uninventive collections that were strangled with some familiar style codes of the brands, but lacking any fresh perspective of what these two idiosyncratic Italian houses could be in 2022. Grazioli’s take on Missoni felt like yet another failed attempt of the brand to rejuvenate itself since the family no longer does the creative direction. The designer, who cut his teeth at Givenchy and Hermès in the past, offered a tight palate-cleanser collection which was a very plain interpretation of Missoni’s timeless zig zag and fiammato patterns. Most of the looks orbited between sleek minimalism and uninspired, 1960s retro. It would d be interesting to see Grazioli playing with the house’s codes with a freer, more daring approach, expanding his creative reach. Because if you are planning to design just good clothes, then don’t even bother – or at least, don’t show during fashion week. A range of similar problems appeared on Etro’s runway. De Vincenzo is a well-known designer in Milan, but when I heard the news of his appointment, I scratched my head. Etro’s most recognizable repertoire – the eternal paisley pattern, the fringed gypsy look, the romantic sweeping gowns – was nowhere to be seen in his debut. “I don’t really like fluid fabrications; I like structure and compact materials,” De Vincenzo explained. “I’m not really familiar with the boho world. It doesn’t mean that in the future I cannot interpret it my way, but for now I’ve been given this position to express my point of view. That’s why I’m here.” I really don’t understand his mission then. There’s no need for Etro to be something else than Etro. And definitely not a bunch of shallow designs, featuring lazy-looking dresses and silly crop-tops. The collection tried hard to appeal to a younger audience, but I guess it was forgotten by that very same audience the minute the show ended. Missoni and Etro are brands that truly deserve better. Either their new creative directors quickly find balance between their personal aesthetics and the houses’ style ethos, or they will simply fall into oblivion, just like many other Italian brands that never could find their way again without their charismatic founders (and their descendants).
Missoni spring-summer 2023:
Etro spring-summer 2023:
Collage by Edward Kanarecki.
Don’t forget to follow Design & Culture by Ed on Instagram!
One thought on “Identity Crisis. Missoni + Etro SS23”
Thank u for ur honest review, i was at a loss myself gazing at fluorescent tubelight lookalikes, wondering where quintessential missoni had gone, maybe the family should head creative direction again to avoid any further disasters. The Missoni Miss.