Today's emojis are somewhat similar to the ancient Greek theater masks, which Marco de Vincenzo blew up to the size of refrigerators and placed in a row in the middle of Etro's fall runway.
To hear the Italian designer reflect on how conflicted he feels interpreting a traditional brand and balancing it with his own lyrics, one thinks of that smiling emoji with a bead of sweat on its forehead.
He titled his show “Act” to convey that in the fashion theater, he strives to be himself in addition to being the designer of Etro, “that's why masks are a symbol of how I feel, a symbol of interpretation.”
Almost two years into his tenure, de Vincenzo can stop sweating because he appears to have found his rhythm. While he honored the brand's rich textile heritage and its bohemian flair by scaling up prints and layering, he tamed all that exuberance with oversized tailoring, even daring to show off some black coats and jackets.
The models exuded a cheerful attitude in their swashbuckling boots, with loose hairs plastered to their foreheads as they paraded alongside the mega masks, dyed in the same spicy hues as the collection.
De Vincenzo indulged her love of textile experimentation by printing paisley motifs in gold foil on men's tailoring and shredding chiffon into dense ruffles that looked like feather boas adorning wispy dresses and sheer pants.
Extravagant knitwear was a recurring theme on the first day of Milan Fashion Week, and Etro had scarf-like bulges spilling over coats, sweater sleeves, and an unconventional pencil skirt with an attached partial bodice .
The clothes became darker and more restrained as the show progressed, with lush prints applied to jumpsuits and leggings, a collaboration with Austrian hosiery brand Wolford. De Vincenzo seemed to be saying that you can wear Etro loud and proud at the front of the stage, or let his exotic prints be part of the backdrop.
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