Marco de Vincenzo
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REVIEW
COMPLETE COLLECTION
MILAN, September 23, 2011
By Nicole Phelps
Backstage, Marco de Vincenzo said he was looking at the statue of Zeus at Olympia this season. Specifically, he was turned on by the interchange of light and shadow in the gold-plated bronze's fabric folds, and he set himself the task of re-creating that kind of three-dimensional depth on flat surfaces. The method he came up with was to hand-paint his fabrics. But as a warm-up, he cut separates (a fitted, asymmetric zip jacket, biker shorts, an above-the-knee skirt) from leather plissé, and printed stretchy jersey T-shirts and dresses with patterns that looked like the inside of a nautilus shell.The cruxes of the collection, though, were the painted clingy knit dresses. The way the slightly raised cables and spirals that decorated them were painted in ombré patterns brought to mind M.C. Escher's perspective-shifting lithographs—only in Technicolor. Some of them were painted with metallics, the effect of which de Vincenzo rightly compared to soft armor.
Not all of it worked. Knit pants are never a good idea, but especially not with cables extending from hips to ankles. And the engineered prints, while flattering to the body, were reminiscent of others that have been seen over the last couple of seasons. All in all, though, de Vincenzo came up with a unique concept and executed it well. We won't be surprised when we see the gold- and platinum-painted numbers on the party circuit.
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