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Versace

MILAN, June 27, 2004
By Tim Blanks
Only Donatella Versace could start her show with such a surreal juxtaposition—Catherine Zeta-Jones politely smiling from the front row, and Keith Flint, ex-wild man of raver's fave Prodigy caterwauling from the catwalk. Then Brit rave made an uncertain segue into New Wave, as the Versus collection paraded past in a march of eighties-style flourishes: a polo shirt paired with a skinny tie, bleached jeans, a profusion of candy stripes, and pointy patent shoes liable to ignite Joe Jackson flashbacks.

After another interlude with the prodigiously perspiring Mr. Flint, the signature collection opened with an immaculate array of earth-toned linen tailoring. A sharkskin sheen glossed elegant playboy suits in pale gold and oyster, before sophisticated subtlety surrendered to an orgy of color—mauve jacket, orange polo, lime pants, and so on. Monochrome black eveningwear offered a brief respite before Flint's noisome return, with Donatella in tow. The patch on her jeans read "chaos couture," but this collection's highs suggested less chaos, more couture might be in order.

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