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Versace

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MILAN, January 14, 2011
By Tim Blanks
Spring's revisiting of Versace icons has clearly set the house on an everything-old-is-new-again path. When Donatella was contemplating Vanitas, the new Versace bag collection, which manipulates elements of the house's history, it occurred to her that it was time to bring back the baroque, but obviously reinterpreted in a new way. Now the elaborate curlicues that were once so emblematic of Gianni's tenure are more abstract. They're printed on fabrics with a dry, technical touch. The color bleeds. It's an instantly striking departure from the past, much like the fluted volume of the skirts that echoed the influence of dance on the new collection, or the way in which those fluid skirts were played against superstructured jackets.

In fact, the idea of opposites combined was at the collection's heart, most extravagantly in the treated silver python parka lined in red mink, and more subtly—if the word could possibly apply to clothes with such a future-pop impact—in a simple sequined shift printed with a leopard and baroque mash-up. Balloon sleeves—in the silk of a blouse, in the leather of a biker jacket—offered a new volume, while an old friend reappeared in a revamp of J. Lo's infamous jungle-print dress. The print was rather more adult and subdued here, but one thing had stayed the same: the décolleté was still all the way down to there.

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