The invitation was a tape measure. So was the catwalk. And the first outfit featured a navy suit banded by you guessed it. In a season that has already seen plenty of lip service paid to the tailor's craft, was Kean Etro about to take the literal measure of the modern male? Well, not exactly. The measurements he was interested in were typically a little more conceptual and obtuse, having to do with gauging the quality of a man's life. Given that Kean is a fashion designer, you might safely assume the addition of some Etro outfits would improve that life, and that assumption wasn't far off the markespecially when you're dealing with someone with as unique a color sense as his. You don't often see yellow in menswear. Here, it was everywhere, in tones from mustard to chrome. There was orange, too, in a hooded cable-knit cardigan thrown over a velvet suit in deepest grape.
Etro's signature tailoring was present (and correct) in the mixes of pattern and texture that are the label's staple. There was also a major new focus on hand technique: printing (the stripes on shirts and jackets were printed, not woven); stenciling; and, most striking of all, a method of dyeing called shibori. It loaned an effect alternately dip- and tie-dyed to the hems of jackets and waistcoats, one of which was paired with embossed-leather trousers, a tweed jacket, and paisley shoes. Come to think of it, the life that particular combo suits might actually be worth taking the measure of.