For Fall 2026, Marco De Vincenzo sharpened his reboot of Etro with a collection he described as “a wave between strictness and explosion, between looseness and sharper cuts.”
Shown at Milan Fashion Week, the lineup pushed the house’s bohemian heritage into a more controlled, almost architectural territory without abandoning its joy in pattern and colour.
Three years into his tenure, Marco De Vincenzo finally looks completely at ease inside Etro’s codes, and the collection reads as his clearest statement of what “modern Etro” can be.
Bohemian opening: Gypsy energy
The show opened on what one report called “gorgeous gypsy looks and a rush of joie de vivre”: brocaded dresses with trailing fringe, ruffled lace skirts on the bias, embroidered waistcoats and studded bags.
This is Etro’s comfort zone – boho travellers, layered prints, and a sense of nomadic ease rooted in the brand’s origin as a fabric house inspired by India and Asia.
But the styling felt more precise and intentional than the old hippie stereotype, with silhouettes that skim rather than drown the body.
Tailoring as counterweight
Against that free‑spirited opener, De Vincenzo set a counterpoint of strict tailoring: sharp jackets, elongated trousers and suit‑like compositions that absorb the bohemian elements and frame them inside a cleaner outline.
He has spoken about wanting to find “the balance that lets me say: this is Etro,” and here that balance is literal – soft, swirling pieces anchored by disciplined, almost menswear‑like structure.
The result is a back‑and‑forth rhythm between fluidity and control, which gives the collection its “wave” feeling rather than a single, static mood.
Fabrics and textile wizardry
True to Etro’s roots as a textile company, fabrics are the main event. Pre‑season notes and reviews point to upholstery‑like jacquards, silk woven under sand‑washed cotton, and wool blended with metallic threads to catch the light like old embroidery.
Velvet appears in trousers and vests that feel lifted from antique furniture, while leather pieces are dyed in graduated “aurora borealis” tones.
Chunky knits with frayed, blanket‑like edges add tactile warmth when thrown over printed dresses and slip‑like pieces, reinforcing a sense of clothes built up from cloth rather than reduced to line drawings.
Colour and atmosphere
The palette moves from cocooning autumnal tones—forest greens, russets, browns and deep garnets—into richer, darker grounds where black plays a larger role.
Bright colour appears more as flashes than all‑over saturation: a saturated lining, a sliver of contrast knit, a jolt of pattern peeking from under tailored outerwear.
Several looks use subtle gradations and almost faded‑out prints, giving the impression of memories half‑remembered rather than loud, fresh‑from‑the‑runway statements.
Accessories and styling
Accessories play a key narrative role. Soft, rounded bags sit alongside more squared, boxy shapes, many heavily embroidered or studded to echo the clothing’s textures.
Scarves in clashing motifs, oversized earrings and bead‑covered belts build up the eclectic, traveller’s‑trunk styling, without tipping over into chaos thanks to De Vincenzo’s tighter control over silhouette and colour harmony.
