intensità. Etro AW24

February 22, 2024 | Design & Culture by Ed

The first day of Milan Fashion Week was hard to watch: messy and silly-looking Diesel where the Y2k-mania starts to feel stale; Kim Jones’ Fendi that left you with no impression (a worst feeling a collection can give); lots of Prada knock-offs and a couple of emerging Italian designers that literally have no direction.

A light of hope was seen at Etro – metaphorically, as the venue was bathed in darkness. Marco De Vincenzo‘s vision for the Italian label is taking shape. Sometimes, designers really need time to find the right balance at a brand. The autumn-winter 2024 show had huge, slightly disquieting effigies of masks inspired by Greek tragedies placed in the middle of the runway. The collection was called Act. “It’s that in my role as Etro’s creative director, I feel torn between authorship and interpretation. It’s a constant struggle that sometimes takes an emotional toll, yet it’s deeply generative. The masks are a symbolic manifestation of this inner turmoil.” The co-ed collection had an almost somber undertone, as if De Vincenzo had tried to unearth a darker, unknown side of Etro, bringing the brand along on an unmapped journey of self-discovery. Colors were muted, progressing from sensuous earthy tones to the intriguing depths of pitch black – a first for Etro, a brand which is usually affiliated with chromatic exuberance. But De Vincenzo is keen to experiment, and he feels confident and mature enough to chart new paths. His penchant for quirk can be both disconcerting and surprisingly fresh. De Vincenzo’s take on the brand is also much more radical and unapologetic rather than romantic. Silhouettes were kept fluid and unstructured, yet draping and plays on asymmetries read as a bold statement, counterpointed by oversized tailoring that had presence and charisma. “I’ve felt the need to raise the bar,” said De Vincenzo. “I sense around me the desire for more intensity in fashion, for a creativity that doesn’t have to justify itself but can just be, that doesn’t seek perfection, but rather emotional expression.”

Here are couple of my favourite Etro pieces you can shop right now!

ED’s DISPATCH:

Off-the-shoulder Fringed Floral-brocade Midi Wrap Dress

Oversized Wool-blend Jacquard Cardigan

Printed High-rise Flared Jeans

Leather-trimmed Embroidered Printed Canvas Belt

Printed Silk-twill Blazer

Pleated Checked Woven Wide-leg Pants

Collage by Edward Kanarecki.
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Nowhere and Everywhere. Etro SS24

September 21, 2023 | Design & Culture by Ed

At Etro, three seasons in, Marco De Vincenzo is gradually finding his groove. He starts to navigate around the brand’s vast archive pretty well, with all its troves of rare fabrics and prints. “It’s weird how the imagination brings you to places that somehow you can’t describe,” he said. “The magic of the temples of Angkor Was, a scrap of beautiful brocade from the 18th century… the mind travels through memories and suggestions, mixing them together with no logic or rational hierarchy, and lands instinctively in fabulous places with no name.” He called his spring collection “Nowhere“. De Vincenzo’s audacity and quirk was the glue that kept the collection cohesive, despite its visual jumble of graphics and handsome textures. “But there are no citations, no recognizable attributions, everything comes to life in a magical no-place,” he said. Not afraid to confront challenging shapes (swirling trailing hems sneaking awkwardly around the ankles), unexpected juxtapositions of volumes (XXXL leather blazers worn over equally humongous tent-like strapless circle dresses) and redundant intricacies of construction (an abundance of twisting, knotting, braiding and slicing), De Vincenzo is carving a distinctive niche of cool for Etro, bending its codes into a spirited, vital, visually compelling rendition. The diverse, refined casting, sophisticated grooming and imaginative styling only added to a convincing performance.

Collage by Edward Kanarecki.
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In Search for Bohemian Flair. Etro AW23

February 23, 2023 | Design & Culture by Ed

Marco De Vincenzo made some progress at Etro, but it’s still a long way to go. His menswear collection from January felt like the right direction. The designer, however, chose a different and very questionable approach for his autumn womenswear. He’s mining the archives, and “trying,” he said, “to get to the roots of my research.” That means coming to terms with the label’s heritage of pattern-mixing and boho-dressing, an aesthetic that looks to 1970s bohemia rather than the structured, geometrical precision and the rhythmic repetition of quirky patterns he favors. That’s clear he has a hard time with connecting these two worlds. The designer attempted his luck with lightness of the flou – which he never worked with – letting in some breezy construction of flounced, ruffled dresses, the imaginative clashing of patterns so inherent to Etro’s house-codes. The bohemian flair is, after all, the synonym of the brand. In the new collection, it felt overworked. Especially when styled with the thick plaid shawls. Some of these outfits looked simply… wrong. And not in an ironic way. For De Vincenzo, enhancing the cultivated textile expertise of Etro “is a duty.” To that end, he interspersed airy chiffon numbers with slim-fitted pantsuits featuring elongated tailcoats, cut in rich 18th century brocades, or with slightly oversized boxy jackets or coatdresses made in malleable multicolored knitted textures and featuring lapel-less round-shaped, double-breasted fronts. “I haven’t changed,” he said. “I’m still the one who takes risks and doesn’t compromise.” Hopefully after all the errors, he finds a method to his vision of Etro.

Collage by Edward Kanarecki.
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Men’s – Tactile Legacy. Etro AW23

January 16, 2023 | Design & Culture by Ed

Marco De Vincenzo‘s first menswear collection for Etro is definitely much better than his womenswear debut that we’ve seen last September. The brand’s massive textile warehouse in Como was transported and installed in its entirety into a vast industrial space to become the immersive show’s set, with samples hanging from wooden racks and rolls of vintage fabrics scattered around. It was the homage De Vincenzo wanted to pay to the house’s patrimony of textile culture, which is the groundwork on which he’s building his interpretation of the label’s codes. Connecting with Etro’s history is pivotal for De Vincenzo, and his way of dealing with its legacy is respectful; yet he isn’t intimidated by its scale. At a preview, he said that he wanted to throw a little of his own past into the picture. Cue a little fetish, a small wool blanket from his childhood “which I brought with me, a lucky charm of sorts that gave me not only the inspiration for graphics and colors, but also the sentimental impulse to put my story alongside that of the Etro family.” In his menswear outing for the house, what De Vincenzo was keen to express was a sense of coziness and eccentricity. “Comfort of lines but eccentricity in the image” is how he summarized his take on the collection. The idea of masculinity he suggested came with an aura of artsy domesticity, and the look was balanced between a flair for romantic extravagance and supple refinement. Malleable high-end fabrics were cut into soft, gentle shapes: kimonos, shirt coats, and duffels were fluid, unstructured, and unlined, with rounded shoulders, often nonchalantly belted and wrapped as robes de chambre; fuzzy teddy bear pajamas embroidered with florals had an ironic childlike charm. Knitwear was outstanding, with big, chunky sweaters handknitted in imaginative kinetic patterns rendered in an acidic-rainbow palette. On the playful side, tight-fitting jumpers crocheted in open-weave cashmere were appliquéd with 3D bunches of mulberries or kumquats, and worn with roomy high-waisted flares in bright-colored windowpane checks or with low-slung washed denims. At the opposite end of the spectrum, said De Vincenzo, “I wanted tailoring to look sexy.” Inflected with a ‘70s groove, pantsuits were cut in eye-popping tartans, with double-breasted fitted blazers worn over fluid roomy flares, or with long pleated kilts open at the front.

Collage by Edward Kanarecki.
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Identity Crisis. Missoni + Etro SS23

September 24, 2022September 24, 2022 | Design & Culture by Ed

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: