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Milan Fashion Week - Versace Spring/Summer 2012 -
"I thought they looked like Botticelli babes, rising from the sea," said Donatella's enraptured protégé Christopher Kane, who belongs to the second generation of the Versace-obsessed. "And the girls, with their beautiful hair, bobbing along ... I kept having flashbacks." Versace almost had her own words drowned out by the ovation that followed her offstage. "I was thinking of sirens and mermaids, their hot sexuality. And everything I like, and Gianni liked," she said, laughing.
The mood was set by the lumniscent glow that illuminated the garden at the Via Gesu show space. It was like the light from swimming pool. And into that glw stalked the tawny-maned goddesses who have roamed the Versace landscape since time immemorial. "The meeting of old and new Versace," Donatella said. That meeting could mean something as elemental as neoprene and plissé in the same outfit. Or shorts where a pelmet mini would have once sufficed.
What brought on the applause wasn't just the heady goodwill following all thing Versace: It's the clever, modernized clarity she has brought to this label. Everything she did for summer was clean, bright, brilliantly mad, and to the point. Prints of seahorses, starfish, and scallop shells, playing over neoprene biker jacketed suits with tiny, tailored short and abbreviated dresses were complex but un-garishly pretty and melded seamlessly into a palette that ran from ice blue to lavender, lemon, and pistachio. The mini godesse-dresses, with stream of pleats running down one side of the body (the Gianni-flashback section of the show) were still reined in from out-and-out vulgarity. And even the mothers of the Botticelli babes - the customers Donatella has been carefully courting with fitted shift dresses and decorative coats for the last few years - weren't left behing. The white, zippy suits with knee-length skirts will do them very nicely.
Source: VOGUE
Milan Fashion Week - Versace Spring/Summer 2012 -
"I thought they looked like Botticelli babes, rising from the sea," said Donatella's enraptured protégé Christopher Kane, who belongs to the second generation of the Versace-obsessed. "And the girls, with their beautiful hair, bobbing along ... I kept having flashbacks." Versace almost had her own words drowned out by the ovation that followed her offstage. "I was thinking of sirens and mermaids, their hot sexuality. And everything I like, and Gianni liked," she said, laughing.
The mood was set by the lumniscent glow that illuminated the garden at the Via Gesu show space. It was like the light from swimming pool. And into that glw stalked the tawny-maned goddesses who have roamed the Versace landscape since time immemorial. "The meeting of old and new Versace," Donatella said. That meeting could mean something as elemental as neoprene and plissé in the same outfit. Or shorts where a pelmet mini would have once sufficed.
What brought on the applause wasn't just the heady goodwill following all thing Versace: It's the clever, modernized clarity she has brought to this label. Everything she did for summer was clean, bright, brilliantly mad, and to the point. Prints of seahorses, starfish, and scallop shells, playing over neoprene biker jacketed suits with tiny, tailored short and abbreviated dresses were complex but un-garishly pretty and melded seamlessly into a palette that ran from ice blue to lavender, lemon, and pistachio. The mini godesse-dresses, with stream of pleats running down one side of the body (the Gianni-flashback section of the show) were still reined in from out-and-out vulgarity. And even the mothers of the Botticelli babes - the customers Donatella has been carefully courting with fitted shift dresses and decorative coats for the last few years - weren't left behing. The white, zippy suits with knee-length skirts will do them very nicely.
Selections made by ANDREA JANKE Finest Accessories
Source: VOGUE
Photography by Marcio Madeira/firstView
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