Deal or no Deal
Being the first men’s show since the House was bought by Michael Kors Holdings Ltd. for a little over $2 billion, it is safe to say we all had one question on our minds before the line-up: will the deal water-down the Versace effect? In an interview with The Financial Times, Donatella quickly put our minds to ease answering the ‘Korsace’ problem: “I don’t know why people thought that Versace would become like Michael Kors? A medium, lower line. I mean with all due respect to Michael Kors…”
The opening of the show immersed heavily in Gianni’s 1990s bondage iconography; a reminder of the playfulness the label has upheld. Leather trousers, T-shirts with printed harnesses and unisex open-backed black silk jackets bound by more harnessing served us with an effortlessly delivered, sexy, provocative theme. Drowned in accessories, the suits for both men and women were again a reference to the way-back-when Versace.
At this point, the focus expanded. Fluoro knits in contrast with fluoro lace linings suggested a sense of cyber-kink whilst more retina-damaging fluorescent combos featured on shirts, sweaters, turtle necks, trousers, and hats continued to make its way down the runway. The logo-heavy synergy with Ford seemed to expand the label’s reach and could have come across as misleading, particularly in the context of an Italian label affirming its aristocracy on the rest of the world.
Versace’s new take on fashion appears to combine many elements of the old Versace that we know and love. With a plethora of references to its old-school days as well as upholding its eccentricity, it’s clear that Versace will always be Versace, despite what Michael Kors is capable of.