“Bold and fresh — it’s more sophisticated,” announced Donatella Versace backstage.
She was wearing an all-black look, lit with a narrow, signature Versace Greek pattern around her hips — suited to a show where the invitation was a block of “gold”.
Indeed the show opened with pared-down black tailoring with white stitching running through. The fact that skirts were either short or side-slit and the models balanced on transparent Perspex heels brought a sexy vibe.
The set runway had more transparent glass effects, with blush pink and blue lighting, giving promise of a boudoir.
Those girly colours were picked up on short satin dresses where geometric lines gave the clothes a feeling of modernity.
But really we have seen all this stuff from Donatella before: the peek-a-boo of flesh, thinly veiled with chiffon; more transparency with sportier mesh or laser-cut leather. And, inevitably, that famous Medusa head, mixed with some digital geometric effects to give it a modern spin.
the brand is in a bind. It has to keep in its own loop. But the message just keeps going round and round with a slice of red ribbon here and a shimmering panel of vivid coloured pattern there.
When I saw the wedding dress that Donatella created for her friend Angela Jolie, my eyes pricked with tears at the innocent beauty of the concept and the exquisite workmanship.
I wish that Versace could break through the hard surface and, just for once, send romance, sweetness and love down the runway.