Sunday, July 19, 2015

Atelier Versace.

Sun. 01/25/2015.

When Exit No. 3 came sauntering down the Atelier Versace Spring 2015 Catwalk, there was the strongest sense of Continuity as this Slender, Lithe Jumpsuit with the slit in the leg hearkened straight back to the Hippy inflected collections of Gianni Versace, Circa 1993. It was somewhat uncanny how the mind swam back to those Halcyon days of yore... But it just may have been a case of Donatella's Design team poaching the archives and coming back with something from Yesteryear to explore in the here and now!

Whatever the case may be, Versace's Spring 2015 Atelier collection was not the most Fluid and Even affair. It had Highs and plenty of Lows. Those lows threatened to Sink this collection and nearly did. But there was enough good going on to keep the collection from being on Life Support. With all the Swooping, Swooshing Curves and Half-Circles being bandied about and revealing clefts of skin and Cleavage and Leg here there and Frankly, Every Fucking Where, the collection was certainly Body Conscious and Had something of that Gianni Fall 1992 Bondage Collection air (Take a Peek at Karlie Kloss in her Jumpsuit at the end of the collection and tell me if it doesn't look like it was picked up right out of that collection!?!?!?) but worked with Donatella's Voice instead. 

Frankly... It didn't work all the time, and by halfway in... The Theme had already grown Tiresome and more Detrimentally... Boring! Not least to mention that those pops of Electric Blue were Quizzically Misplaced amongst the Red and Black and White. It served as a Disconcerting intrusion and caused a Queer, Unsettling Queasiness when they showed up! By just nearly the Halfway point we were in the presence of Black on Black! And it, Refreshingly, was probably the best section of the show. Each one of those Black Beauties from Exits No. 23-29 were Exemplary works! Especially Notable was the Screamingly Sexy gowns on Jourdan Dunn and Jamie Bochert... if those were not Two of the Hottest, Fuck Me Gowns ever made... I can't possibly think of what was!

The Next Section of Black on Black Gowns before Natasha Poly's reprisal on the runway in All White were Of the Same Caliber that those that had come before, Excepting that Two-piece Number on Yumi Lambert, it should have been shown far earlier, Meanwhile Lexi Bolling and Kasia Struss' Gowns were Made for Turgidly Straining the Crotch Areas of the Straight Males Watching... HOT! After this, It was typical Versace Pyrotechnics, and the show ended with the Former Supermodel bang of Eva Herzigova and Amber Valetta to add some Old School OOMPH to the show, even though the biggest OOMPH came from the Perfectly Fit Short Cocktail dresses with Emoji Beading. They Stole the Show! And were Sedate enough even with the beading that in this Time and Age they could work in the Day as much as at Night!

Donatella Seemingly shoots herself in the foot by going on Foolhardy Junkets to the most Overwrought Hinterlands, and rather than being Exciting and Compelling, usually it comes off just Dead Awkward and Confused! Enough time has passed and all of us know far too well, Donatella is her own Versace and is no longer trying to design Gianni's way as to go forward. That wasn't helping and neither is this Gambit of trying so hard to move away from the House Codes. Two things would be of Immense help for Donatella in achieving Success with her clothes...

One. SIMPLIFY! Once you learn how to make Impact with Simple things, the rest comes so easily. 

Two. Get into the Archives! The time is nigh that you inject some of those things that made Gianni so beloved back into the work, ESPECIALLY in the Atelier collection. Gianni could work outlandish elaborations and make them Opreratically Beguiling because he understood Simplicity first, and Truth be told, his level of design was different (Higher). If Donatella connects with some of that, Most Notably, THE PRINTS, She will do herself and the House of Versace a Great deal more of a Service than what she has been doing thus far!

That's All.


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