BY JAY AQUINO

JUNE 24, 2026

Etro Spring/Summer 2027 was about the wardrobe of someone who loves to travel. Staged against vintage trains, historic carriages, and stacked luggage, the collection returned to the house’s oldest obsessions: the romance of movement, the art of arriving well, and the idea that clothes can carry memory from one place to another.

Paisley, stripes, boxy blazers, vibrant co-ords, and foulard prints carried Etro’s familiar house codes, but what made the collection more interesting was how those signatures were reworked into a modern packing list. It was maximalism made functional, softened into pieces ready for train platforms, hotel corridors, and late lunches that become dinners.

The jackets were the strongest part of the collection, with a grey checked blazer worn over faded paisley denim setting the tailoring tone. The jacket gave the body a sartorial frame, while the loose ornamental jeans pulled the look somewhere more bohemian and off-script. It felt like Etro asking what happens when the blazer stops controlling the outfit and starts traveling with it.

Elsewhere, a striped double-breasted jacket with decorative detailing at the hem felt like something built from collected memories. The acid yellow shirt and printed scarf gave the look its eccentric charge, while fluid off-white trousers kept it elegant. This is where Etro works best: when a pattern does not sit on the surface as decoration but interrupts the logic of menswear from within.

The suede shirt jackets in canary yellow and plum carried the same idea, taking the shape of casualwear but giving it the treatment of something crafted, almost tooled, with ornamental surfaces that echoed paisley without relying on obvious repetition, making them feel like real souvenirs in a season built around travel.

A tonal paisley jacket and shorts softened masculinity. The exposed leg, oversized holdall, and loafers created a sharper resort proportion, one that felt relaxed. A fuchsia set pushed the mood further, turning decorative borders and saturated color into something sunlit and expansive.

Then came the fuller expressions of print, with golden paisley sets worn over striped layers and cut loose enough to suggest loungewear. These looks understood Etro’s greatest strength, not simply the pattern itself, but the collision of pattern systems: paisley against stripe, jacquard against tailoring, and ornament against utility.

Accessories completed the travel narrative without becoming props. Paper airplane and boat charms, scarves, roomy bags, and weekend holdalls suggested a man collecting signs of movement rather than souvenirs. The collection may have been created during a transitional moment for the house, but it did not feel lost. It understood where Etro came from, while leaving the more compelling question open: Where does this traveler go next?

Discover Etro here.