On Friday night in Milan, Versace comrades in arms took their place on the stately catwalk, advancing from Donatella’s palatial kingdom behind ornate baroque gates, opened not by Saint Peter, but by a pair of subservient Versace Adonises of course. And this season, Donatella blessed the industry with a new attitude, or what she called “less complicated, more liberated, very sensual”, with a definitive clarity, somewhat opposing the periodic salacious extravagance of the house, on account of sleek, sinuous, 1930s imbued, bias cuts, which allowed for a smooth freedom of movement and spoke for the majority.
But do not despair – the streamlined Versace woman still takes pride in not only flaunting bewitching flashes of her skin via sly open seams, but also decorating that skin, just with military-inspired honours, as opulent gilt embellishments, frilly, beaded and brave, salute Versace’s new alliance with sensual simplicity. Donatella knows her Versace woman, seemingly she is the Versace woman, and thus, she can deliver, with regal primary brights, from crimson, to petrol blue and citron, suited and laced booted Amazonian women, swathed in mink and leather, frilled and studded with a militant sass.
Bling black and gold combinations couldn’t be avoided, as lavish buttons, each embossed with the Medusa crest no doubt, successfully cut the stronger, taut silhouettes in the collection, inspired by her brother’s collection of chic military uniforms. Riding on a luscious wave of triumph, as revenues burgeon monumentally, the brand, becoming increasingly appetizing to IPO investors each day, demonstrates the art of constructing brand power, and indubitably, the drawing power of the Versace’s product is the key to their current enduring success.
by Liam Feltham
Images courtesy of Style.com