Veronica Etro swapped the psychedelic sixties paisleys and magic-mushroom prints of Spring for twenties constructivism, with some timely Art Deco flash thrown in. The show opened with this season's by-now-familiar round-shouldered, short-sleeved coat with deep fur cuffs. Hers came in a natural linen tweed decorated with geometric blocks of color and slim saffron satin pants. From there, Etro started working the artsy (often over-the-top) layers: belted side-button tunic vests over pussy-bow silk-print blouses with willowy, high-waisted trousers; and a plaid anorak with a fur collar topping a purple pleated skirt with buckles at the sides. For evening, she showed drop-waist numbers, some with crystal embroidery at the hem, others beaded along the racer-back straps. Longer tank dresses were suspended from the shoulders with ropes of jet jewelry. A silk-velvet sack coat as vivid as a tapestry stood out for its simplicity.

No matter which decade is the inspiration, a rich interplay of prints and textures is the house's trademark; this season, though, Etro let that exuberance get the better of her. She isn't the only designer guilty of overlong presentations in Milan, but a more thorough edit, not to mention less flamboyant styling, could┐ve sharpened what she said was her message about languid sensuality.