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At the moment’s emojis are considerably akin to the masks of historical Greek theater, which Marco de Vincenzo blew as much as the scale 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 decoding 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 an emblem of how I really feel — an emblem of interpretation.”
Almost 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 dimensions 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 angle 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 operating theme on day certainly one of Milan Vogue 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 gave the impression to be saying you can 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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