Family portraits, bohemian details, archetypes and rural contaminations are the details of the new Etro collection, again directed by the creative mind of Kean Etro.
It is not the first time that the brand has “taken advantage” of their fashion shows to build a dialectical moment of exchange, as well as making the show a vehicle for cultural transmission. The same thing applies to green and eco-sustainable issues, for which the brand has always been at the forefront in supporting them.
In the background, the family art collection, paintings and portraits of ancestors belonging to the Etro family. On the catwalk, together with a contemporary vision of the rural gentleman (but of high rank), two glories from the past also parade: Mark Vanderloo and John Kortajarena, a generational passage aimed at fully representing the spirit of the parade.
Modern bachelors and bourgeois offspring parade with a graceful and noble elegance, in an exercise in modern sophisticated style, good at not falling into smears with a past-flavor.
Rigor and vanity together with attention to detail, which nevertheless lacks a hint of rebellion, which is always good for us. Details do not go unnoticed, such as the typical Etro paisley that appears between soft trousers, knee-high boots, tailored double-breasted velvet jackets and soft and oversized tweed wool capes, like the bomber jackets that give a contemporary line to the collection.
And then a country color palette where warm shades stand out, from red to cold shades like royal blue. We find again the dualism of things, elegance and rebellion, resistance and delicacy, past and present. In this regard, the declarations of Kean Etro best illustrates the intentions of the show: “Telling the heritage of the stories of grandparents and grandmothers, the links with the family, with the land, with nature. The need to refer to ancestors for me is to make the product I create more consistent with the history of the human being.”
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