the collection: reported by vogue.com
Veronica Etro likened her dresses, and the prints that came with them, to being “windows to a fantasy world”. And the fantasy world in question was one of oriental origins: all kimono, Judo and origami-stiff shapes and cuts to provide a canvas for the hand-painted flower and insect decorations that adorned them.
“I really needed to keep the shapes clean, primal almost, rational, to show off the decorativeness of the prints,” she reasoned. “And with the prints I was interested to use other things than just flowers – animals like parrots and butterflies to bring them alive.”
It was a good train of thought – if one thing is fussy, keep the other simple. Sometimes even the simple shapes weren’t quite the right canvas though, but the prints were, as is the speciality of this house, vivid and arresting and worked best on the most simple of those simple shapes: long and loose kimono wraps; one-shouldered dresses; a breezy pair of palazzo pants and the first look – a stark white trousersuit whose arms and waist had been cast in those paradise motifs.
There were bomber shapes again – even managing to work their way into gowns that billowed in canary yellow at the back – and a move towards a more relaxed take on those oriental shapes to make for an easy wardrobe insertion.
And there were stripes too (which we saw first in New York at Marc Jacobs), all be they less severe than we have seen elsewhere. “The stripes came from sportswear and the martial arts,” said Etro of their use. There were highlights and there was wearability, but sometimes there were a little too many things going on which will mean this collection isn’t quite everyone’s paradise. But it is there if you look.
image credit: Vogue.com