[MILAN, IT.] Every great legend becomes the standard template for human behaviour. To Donatella Versace her brother was the prototype of glamour and she was the golden muse to Gianni Versace’s earlier designs. The sibling-duo were inseparable and 21 years after his death, they both still remain untouchable legends in the fashion industry. For this season, Versace continued to dedicate her voice to say that men can be genderless or even in-tune with their femininity. It’s as if she’s wanting to weaken the stereotype that men have to be macho to be considered a man.
In her own opinion Versace links men buying their first car as the defining moment of when a boy becomes a man. Which helps to understand the reason behind the rotating black car that was placed in the middle of the runway. The show started off with black leather-chic outerwear looks that were cinched at the waist by a belt over the jackets. Each look at the beginning had a blue shirt with a black tie that continued into the solid black and grey suit combo. For the most part, the theme for this preview was black, leather, leopard prints, tie-dye prints and of course the legacy Versace prints. The most memorable piece from the show was definitely look 50, the leopard printed mini-dress that carried obnoxious puffy-shoulder sleeves paired with gold accessories and matched with the leopard canteen bag.
As for styling the show, Versace connected the obvious neon-dyed mohawk and massive bug-eyed sunnies to that of her recent earthly-departed friend Keith Flint, the founding vocalist for the Prodigy. It was a tribute to him for the disruptor attitude she admittedly shared with Flint. Take a gander at looks 19 through 24 because those seem to be more on brand with Keith Flint’s stance on personal identity.