Veronica Etro presented a disjointed collection utilizing every element at her disposal. She mixed prints such as, but not limited to, plaids, paisleys, ethnic, and stripes. Etro sent metallic leather, gold and silver lamé, heavy knits, and tweed down the catwalk. Her shapes included tailored or flowing shorts and skirts, both above-the-knee and below, along with ankle-sweeping dresses. Asymmetrical elements were thrown in for good measure. There was embroidery and fringe. Flowing shorts were paired with biker jackets and tartan coats. If you don’t care for her cowl neck sweaters, she included plunging V-necks, prim buttoned no-collars, and pointed collars. There was something for everyone provided they weren’t too disoriented to fill out an order.
At Bottega Veneta, juxtaposition, though less schizophrenic, was also the main story line. The 60’s influence was clear, but the passing of each model brought the collection forward. Mustard mohair coats and cardigans topped knee length skirts and sleeveless shifts. The textiles included three dimensional yarns and voluminous wools along with delicate lace and sheer panels. The textural depth was added another layer with unexpected surface treatments like tea-staining, spay-painted trompe l'oeil lace, shredded hems, and ombré.
The collections of Etro and Bottega Veneta transitioned from decade specific starting points to the present/future. The shows developed like an autobiography of the fashion industry as a whole with the constant references to whichever trend decade happens to be in vogue. At Bottega Veneta the transition was rhythmic and fluid. At Etro the flow was jagged and jarring much like that endless and overlapping recycling fashion from previous decades.
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