Etro spring-summer 2020 Milan fashion week

https://wfc.tv/ Image may contain: Furniture, Couch, Human, Person, Home Decor, Cushion, and Female MILAN,SEPTEMBER 20, 2019 by SALLY SINGER Let’s begin at the end. For the finale of her Spring/Summer 2020 show, Veronica Etro sent out a parade of barefoot models in super-classic men’s shirts (striped and monogrammed) tucked haphazardly into resolutely slouchy jeans (paisley-printed, mid-rise, raw-edged). The cut and vibe of both these items were perfection: pristine but easy, patterned but somehow neutral. There wasn’t an editor in the room, male or female, who didn’t sit under the thought bubble “I want to be that girl.” The finale was Veronica Etro at her best—old-world, bohemian, cultured, and feminist. And her conviction that the shirt is due for a return (“we are all full of tee shirts”) was the best part of this collection. There were two shirts that ruled the catwalk today: one, a classic men’s piece with sharp cuffs and a shirttail hem; two, a massive blouse in dotted swiss or cotton lace, piratical and romantic in the extreme. Both were positioned as wardrobe essentials for a groovy vixen who alights in a paisley, animalia-themed hot air balloon (there were three on the runway) to follow dudes in bands to gigs the world over. Yes, this was a collection devoted to festival girls—groupies, actually—but only the great ones (Birkin, Pallenberg, Rampling, Bissett), those leggy British beauties who, in the ’60s, floated effortlessly between Pune and Tangier, Formentera an