Marco De Vincenzo loves a metaphor. Like, really loves one. This season he described the collection as a wave—between rigor and explosion, control and abandon, sharp lines and total release. Which feels right, because watching Etro right now feels a bit like watching something inhale… and then completely lose its mind. “Its bohemian side resurfaces,” he said, “hyper-colored, maximalist, a little mad.” And yes. Mad, but in that intentional, self-aware way. In De Vincenzo’s telling, Etro is basically an ouroboros—a decorative universe endlessly feeding on itself, regenerating, looping back, never getting bored. Somehow neither do we.