The most glorious thing about this show was Donatella’s refusal to let go of the past and Gianni’s legacy of neon clad, glarey, lairey, in-your-face, fur, lace and sheeny organza zsa- zsa OTT’ness. It was a triumph.
Yes, its critics may say that it hasn’t moved on enough but that is exactly the point. Unlike Raf and Hedi attempting to redirect and sway an ocean of new admirers beginning with the press, at Versace there is no attempt to out-smart their legion of loyal purchasers. This is a show tailor made for over rich, over indulged, over tanned , (no doubt) flamboyant mistresses of Euro & Russian billionaires and that’s the way uh-huh, uh-huh, they like it.
The show oozed sharp sexiness from the lean, mean, gold pinstriped detailing and shoulder pads on ‘day wear’ suiting to the neon sherbet lemon fur mini dress and the ultra covetable mini tuxedo gold blazer-dress. This may not have been typical red carpet Oscars wear but in terms of sheer brilliance, Donatella surely nailed her brother’s hand-writing with this couture showing even down to the re-use of ’90s supermodels Kristen McMenamy and Stella Tennant.
The spotlight detail was in the slashes and the gapes with liberal amounts of fur and accents of neon piping used to highlight the bareness. Skin was shown through keyholes at the breast line (natch) as expanses of leg were shown in the minis or mini-fronted, expanse of trailing shot organza ballgowns. In typical Versace style, zipped slashes were cut down to ‘here’ and up to ‘there’ with the 2013 addition of neon piping in vibrant yellow, fuchsia and mint green. Day wear meant short, frou-frou, pale pink pleat skirts paired with equally tight, cropped biker jackets.
Versace may not have been rocking any boats at couture but Donatella knows how to work her house’s key strengths and take that wannabe glamazon rock-chick (or her willing credit card donating partner) all the way to the bank.
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