Pucci without pattern
Wiping out print on the early outfits, but keeping the streamlined glamour, is one way that Massimo Giorgetti is modernising a label that has its roots in the elegant, aristocratic age when the jet set was born.
Massimo was referring to the opening outfits in strong-but-sweet colours such as canary yellow, dark orange, duck-egg blue and yellow overlaid with pink that were, in fact, taken from the archives. These long, lean, softly draped clothes looked fresh, if relatively alike.
“Jersey georgette, jersey chiffon and tulle — there are lots of things that seem like jersey but are not — and for prints, like this laser-cut intarsia knitwear,” explained Massimo. “There is an amazing mix of artisanal and future techniques because I used the best of Italian manufacturers for this collection.”
Etro: Pop go the hippies
Veronica Etro is wedded to the de luxe hippie look and her show notes described a “gang of eclectic travelers” exploring the world from the Sahara desert to wherever. Yet her work was the strongest for Spring/Summer 2017 when she escaped from Magreb-meets-Ibizia patterns, flowing dresses or mini caftans into a crisper, workaday world. A simple wrap dress with vertical and horizontal lines looked much fresher than a pull-on top that could have come from a Moroccan souk.
Fortunately for brand Etro, the designer mostly kept the quirkiness, as in floppy sun hats and long patterned chiffon dresses, while also making the show more pop, sporty and dynamic. Flesh helped. When the patterns were on tunic-length tops worn over bare legs, the collection seemed to take a sprightly step off the eternal hippie trail.
Etro's fabrics are so dense with pattern but light in execution that the brand is fortunate to have a family member who understands the meld of ethnic styling and luxurious execution that makes certain Etro pieces so covetable.