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Right this moment’s emojis are considerably akin to the masks of historic Greek theater, which Marco de Vincenzo blew as much as the dimensions of fridges and propped in a row down the center of Etro’s fall runway.
To listen to the Italian designer ruminate on how conflicted he feels about deciphering a heritage model and balancing that along with his personal handwriting, you consider that smiley emoji with the bead of sweat on its brow.
He titled his present “Act” to convey that within the theater of vogue, he strives to be himself along with being the designer of Etro, “so the masks are a logo of how I really feel — a logo of interpretation.”
Practically two years into his tenure, de Vincenzo can cease sweating as a result of he appears to have discovered his groove. Whereas honoring the model’s wealthy textile legacy and its bohemian aptitude by blowing up the size of prints and layering up a storm, he tamed all that exuberance with outsized tailoring, even daring to indicate some black coats and jackets.
The fashions conveyed a jaunty perspective of their swashbuckling boots, stray hairs plastered on their foreheads as they marched previous the mega masks, dyed in the identical spice shades as the gathering.
De Vincenzo indulged his love of textile experimentation by stamping paisley motifs in gold foil on mannish tailoring, and shredding chiffon into dense ruffles that resembled feather boas trimming wispy robes and sheer pants.
Quirky knitwear was a working theme on day one in all Milan Style Week, and Etro had scarf-like protrusions spilling off overcoats, sweater sleeves, and an offbeat pencil skirt with a partial bodice connected.
The garments turned darker and extra sober because the present progressed, with the exuberant prints labored onto bodysuits and leggings — a collaboration with Austrian hosiery model Wolford. De Vincenzo appeared to be saying that you would be able to put on Etro loud and proud on the entrance of the stage, or let its unique prints be a part of the backdrop.
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