Veronica Etro incorporates it into her new idea of print dressing, a category the house has owned since, well, forever: a longer, leaner, body-conscious line (her killer velvet evening dresses, for instance) that allows for all sorts of interplay with pattern (paisley, specifically) and three-dimensional shaping (peplums-as-belts galore, over pencil skirts).
Her foppish tailoring was, she said backstage, a way of feminizing the masculine suit, so she made her jackets—in velvet, jacquard, and tweed—sharply waisted and jutting at the hips, then partnered them with supernarrow trousers. Elsewhere, she buttoned a shapely frock coat over the same pants and turned the gentleman’s silk scarf into a fur collar layered with a sizeable jet necklace.
It’s interesting, this idea of transforming men’s suiting, albeit from another era, to make it look so curvaceous. For the longest time, the impulse was to look coolly louche and androgyne in pieces borrowed directly from the boys, but this reverts to the idea of making men’s clothes look distinctly shaped for a woman’s body.
And even more interesting is that that impulse is coming from two female designers with very different viewpoints. Whatever is driving this, one thing is for sure: your boyfriend’s/husband’s/brother’s closets just became no-go zones.