Versace

MILAN, February 21, 2008
By Sarah Mower
Finally, at the last gasp of Milan, it fell to Donatella Versace to rush to the rescue of the imminent Sunday-night Academy Awards. And who better, in a week when there was scarcely a floor-sweeping gown on a runway (unless it was made of, er, tweed)? There were no apologies for a drop-dead dress from DV, of course. There were 11 of them, in fact, with two liquid nude-colored bodice huggers running neck and neck for outstanding achievement. (Arguably, Carmen Kass won by a breast.)

The fact that Versace can turn it on like that is a surprise to no one. More of an eye-opener is how far she has moved away from the bling-vulgarity stereotype that dogged this house until a couple of years ago. Mostly, this collection was about carefully considered structure—short dresses and coats with flying volumes in the back—rather than front-loaded sexiness. Some of Versace's most glamorous—and on-trend—cocktail dresses even hit to mid-calf (a one-shouldered draped midnight-blue number and another in a combination of matte and wet-look black were stunning).

Though most of the pieces were single-colored and unembellished, there was also a breakout of print along the way. Versace had commissioned the Dutch artist Tim Roeloffs to work on a photomontage of urban cityscapes, musclemen, dogs, Versace china, and the house ad campaigns, and then collaged the results onto violent purple, fuchsia, and yellow dresses. Result: very Versace. You couldn't help thinking the late, great Gianni would have loved it.

Follow us on Twitter

Loading...

Style File Blog

february 11, 2012

Designer update

Ready To Soar

12:02 PM
Last year, young designer Fabiola Arias' entrance-making dresses snagged her a coveted Fashion...

Designer update

Band of Outsiders’ NYFW Diary

09:02 AM

more from the style file blog ›