Marco De Vincenzo has always had a flair for the decorative, though his take on maximalist visual excess skews more kinetic and conceptual than ornate. In his three years at Etro, he’s found himself navigating a different frequency—one that’s intuitive, feminine, and steeped in a bohemian spirit. It’s the realm of the Etro wanderer: a worldly connoisseur fluent in layered references and tangled timelines. But he’s come to embrace what he calls “the auto-generative quality of its codes: they’re so strong that even with just a few changes, the look remains true to itself, yet always feels new.”

For resort, he riffed on Etro’s tried-and-true formula of print and pattern play, weaving in plenty of ruching and flouncing, intricate lace intarsia, hints of the 1970s, and overprinted nylon brocade layered atop billowing, lady-of-the-canyon chiffons. “Orchestrating a potential cacophony isn’t easy,” he joked.

The flow of flora-and-fauna botanicals was somehow recalibrated and offset by denim jacquard, bicolored knits, sporty suede, crocheted surfaces, and tone-on-tone overlays where paisley motifs all but disappeared into the texture, creating the illusion of solid color while preserving the ornamental spirit. Etro keeps the eye busy, and De Vincenzo seems happy to ensure it stays that way. “I’m careful not to be overly didactic though,” he noted. “I avoid direct references to specific eras or ethnicities.”

Menswear took a more subdued turn, steering clear of the flounced flamboyance seen in women’s. Abstract or botanical motifs, though dense, were somehow restrained—be they crocheted on sweatshirts paired with jacquard denim, overprinted on minimalist zippered canvas jackets, or jacquard-woven into double-breasted blazers for lean, tailored suits. Still, a pajama look featuring a flowing silk robe and matching trousers swirling with florals offered a nod to Etro’s signature decorative decadence.