An ancient Egyptian papyrus tells of when the tears of the god Ra, touching the ground, morphed into bees, and how these later worked with the flowers of every plant to produce honey and wax, spreading life. For William Burroughs, language is a virus, while according to other theories we were born from aliens. All these are myths produced through time and cultures to answer the same insoluble questions: identifying the origins of creation, trying to grasp the mystery, to identify the source from which the straight line that leads to the here and now started. That line traced from a distant origin becomes tangible on the catwalk: it is a curtain, probably a filter - developed by art collective Numero Cromatico - on which a bestiary is stretched, perhaps an evolutionary path, made of mythical animals, extinct beasts, real zoology, without distinctions of any kind.

This season Marco De Vincenzo moves in a dense and primordial matter, and imagines the collection from the material itself, which is tactile, thick, tangible, made of overlapping levels in which even prints are a glaze, a rubberization, an embroidery on the underlying texture. Lines move liquidly around the body: they mark and caress it, and then flare, short or long, asymmetrical and fringed. Pleats highlight the waist, while a fantastic flora swarms on denim and corduroy. Wools are brushed, sweaters are embroidered, sequins live inside geometric facets. Aliens from far away end up on the jewels as well as bees trapped in amber, while embroideries of a fantastic zoology born from the collaboration with the korean artist Maria Jeon envelop clothes, and bags which have soft and rounded shapes, or clean and squared lines. Raw and untamed, wool fur is a primitive touch that recalls wild scenarios, touching hats and coats. The same motifs extend to the men’s wardrobe, investing jackets, duffle coats, robe coats, psychedelic velvets. The Etro magma bubbles and boils, vital, infinitely metamorphic.