In his first menswear outing for the house, De Vincenzo was keen to express was a sense of coziness and eccentricity. “Comfort of lines but eccentricity in the image” is how he summarized his take on the collection. The idea of masculinity he suggested came with an aura of artsy domesticity, and the look was balanced between a flair for romantic extravagance and supple refinement. Malleable high-end fabrics were cut into soft, gentle shapes: kimonos, shirt coats, and duffels were fluid, unstructured, and unlined, with rounded shoulders, often nonchalantly belted and wrapped as robes de chambre; fuzzy teddy bear pajamas embroidered with florals had an ironic childlike charm.
Knitwear was outstanding, with big, chunky sweaters handknitted in imaginative kinetic patterns rendered in an acidic-rainbow palette. On the playful side, tight-fitting jumpers crocheted in open-weave cashmere were appliquéd with 3D bunches of mulberries or kumquats, and worn with roomy high-waisted flares in bright-colored windowpane checks or with low-slung washed denims. At the opposite end of the spectrum, said De Vincenzo, “I wanted tailoring to look sexy.” Inflected with a ‘70s groove, pantsuits were cut in eye-popping tartans, with double-breasted fitted blazers worn over fluid roomy flares, or with long pleated kilts open at the front. If not sexy per se, they certainly looked confident.
