One of the highlights of Couture schedule this week is sure to be the opening of the new show at the Musée Galliera, Les Années 50, La Mode en France 1947-1957, curated by fashion wise Olivier Saillard. In a timely coincidence, Donatella Versace revisited the decade for its collection Atelier Versace tonight.
That point marks a departure for the designer, who has recently found muses the likes of Lady Gaga and Grace Jones, and inspiration from more contemporary reference points, as the nineties grunge. Fifty Donatella, of course, were different from the fifties of Galliera. His jacket with rounded shoulders, boned waist provided a strategic cut in the shoulder with a gold buckle to suspend instead. A front slit bustier dress, meanwhile, was dressed only in name; one of the legs of the model wearing trousers was covered.
These were some of the strongest looks of the collection, with confidence and executed rigorously structured. In a way, it was the polar opposite of navel-baring cut-up-not to-dress with tropical print Donatella that Jennifer Lopez wore to the Grammy Awards in 2000, while consolidating places both divas “in the history of the red carpet. López was in the front row tonight, poured into a corseted strapless dress with gold buckles at the hip. But Versace techniques are more sophisticated now, was and will always be on flaunt the assets in this house. Side by side, these dresses did not have the precision of the opening numbers, but perhaps because of that fact, going to be fun and sexy to wear.
Some pieces made of crinoline fringe, embroidered with thin strips of patent leather on the top, somewhat confusing message. By the end, it was back to the fifties, but as before, with a generous pinch. A pink silk duchess satin gown powder came cut in the center, which fully reveals black swarovski crystal costume was tied and fastened to. “I’m Versace,” said the designer in advance, explaining the cut piece of bronze and construction. “I have to show the world.”