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Agenda-setting intelligence, analysis and advice for the global fashion community.

The Lightness of Being Marco De Vincenzo

The designer’s show, noteworthy for its weightless and dreamy takes on Japonism, was a departure from a well-tested formula and De Vincenzo's most accomplished effort so far.    
Marco de Vincenzo Spring/Summer 2016 | Source: Indigital
By
  • Angelo Flaccavento

MILAN, Italy — Of the entire crop of designers building the new Italian establishment, Marco De Vincenzo is probably the one with the most singular fashion vernacular. He is a manipulator, first and foremost, meaning he rarely leaves fabric as it is, opting instead for a painstaking process of cutting, treating, coating and embroidering. But despite all this experimentation, his shapes are not experimental at all. Instead they are rather ladylike — perhaps too much so.

Yesterday's show was a noteworthy departure from this well-tested formula, however, and De Vincenzo's most accomplished effort so far. In fact, whilst still pushing the limits of surface treatment, De Vincenzo finally found a new lightness and with that a certain realness. Everything looked weightless, young, effortless: feathery coats and liquid trousers, ombrè tops and metallic shirts had a welcoming ease to them that made them appear ready for the street.

The overall look was spontaneous and immediate — not a lady who lunches in sight. The feathery footwear, although not entirely new, set the tone of the show, while the Japanese hints heralded in the press notes remained only faint traces. Wisely, De Vincenzo avoided being too literal, opting instead for a dreamy take on Japonism, which gave the proceeding a suffused, soft, erotic aura. Bravo!

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