Colour, Gianni prints, 80s sexiness – this couldn’t be more Versace. After her major spring-summer 2018 tribute collection, something has opened up for Donatella Versace. She seems to feel even more freed. And finally happy, against all the odds the designer met after her brother’s murder. Versace of today is her success, undoubtedly. She understands that the brand’s cult should be embraced – that’s why the Medusa and the brand’s logo are wherever you look. She makes the word VER-SA-CE sound like a vision of delightful, hedonistic and extrenely Italian dolce vita. But at the same time, she smartly injects her style into the house codes. I adore the contemporary sportiness to what she does lately – the eveningwear is glamorous, but comfortable; vintage-y animal spots and Clueless checks land on puffer jackets. Even though I can’t say I’m an ultimate fan of Versace aesthetics, I’m a fan of Donatella. She’s a woman to respect, and love.
Collage by Edward Kanarecki.
Believe it or not, Gianni Versace was murdered 20 years ago, in the front of his Miami mansion. After his death, the fashion world drowned in sadness and grief – that was the end of an era of joy, sex and beauty. But, as its visible in 2017, Gianni’s soul is with us and his aesthetic is as relevant as ever – via Donetella Versace‘s medium. Yesterday was a fashion bomb in Milan, with Versace‘s absolute hits taken out of the archives. ‘Andy Warhol’, ‘My Friend Elton’, ‘Native Americans’, ‘Metal Mesh’, ‘Icons’, ‘Vogue’, ‘Animalia’ – all those wild and opulent prints, that used to explode in iconic ad campaigns by Richard Avedon, are revived. And alive. For good.
It’s hard to review a show like this, because it’s a breathing fashion legacy that has already been discussed from A to Z decades ago. Gianni’s signatures were placed on everything, from leggings to dresses, while some of the pieces that appeared to be too hard to replicate were taken straight out of the archives to the fashion show. But the models were the real stars of the runway: Instagirls (Hadid sisters) and mega-model off-springs (Kasia Gerber) sashayed along such models like Anja Rubik, Doutzen Krous and Mica Arganaraz in regular ready-to-wear; the runway queens, who launched their careers first walking for Gianni, closed the show with a fierce walk to the tune of George Michael’s ‘Freedom’. Naomi, Helena, Claudia, Cindy and Carla, the original muses, were all here (I just missed Linda…). Fashion loves spectacles. But that wasn’t a spectacle – that was an emotional ode to a genius, an icon, and her brother. Bravo, Donatella.
Collage by Edward Kanarecki.
“Check it out, take it in, cuz that b*****? She’s so thin, she’s so rich, and so blonde, she’s so fab, it’s beyond.” And it’s Donatella Versace. The blond icon of fashion, who did the most sleekest collection of all for Versace’s Atelier this season. The Haute Couture week started in a steamy way, having Versace first on fire. The show was opened by Maria Carla Boscono, wearing a sexy, cut-out jacket and sleek black skirt. Then, again, the sleek blue top with a cut out skirt. So sexy. Voluminous gowns, killer heels and fringed skirts phreshed off the runway in purple / blue colours, but only Stella Tennant could be a perfect cherry on the top, in that meringue like gown… uph.
Donatella Versace was inspired with Cuba this time for Summer… “I like the attitude of it. I love the colours of the buildings and I love the graffiti street art, which inspired the leather and prints.” The collection was, well, very Versace. The models carried Casa Versace plates in their hands; the towels had this mosaic pattern all over it; yes, it was Versace and we know it. “Versace is about a sense of humour. We have all these things – why not use them?” Donatella Versace said with a smile backstage. That’s not a hard philosophy.