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范思哲创始人 Gianni Versace 詹尼·范思哲 1946 年 12 月 2 日出生于意大利的雷焦卡拉布里亚。母亲是个“土”裁缝，曾经开过一家名为"巴黎时装店"的店铺。她是一个聪明的女人，可以不用任何纸样，只须在布一标一些记号便可裁剪成衣。Versace的家与母亲的作坊只有一墙之隔，他们三兄妹就是在这么一个充满工作气氛的环境下长大的。童年的Versace就喜欢学做裙装以自娱。回忆往事，大师曾说："我就是在妈妈的熏陶下，从小培养出对缝制时装的兴趣。"
Like an oasis of calm in the economic maelstrom, Donatella Versace closed the Italian fashion season with a collection built on beauty. Seductive, streamlined and stylish, this collection lived up to the credo of Mario Boselli, president of the Milan fashion council: "Italy stands for beauty - and beautifully made."
Spectacular fashion may yet come out of this turbulent period, since that is historically what happens at moments of turmoil. But it was a quiet Milan season, apart from Prada"s racy rural trip and perfect geometry at Jil Sander. The strongest overall message from the autumn/winter 2009 season was back to the sharp-shouldered 1980s - the territory once occupied by the late Gianni Versace.
"It"s dangerous to go back to the "80s - I was there," said Donatella Versace, although she took up the theme of shine, from liquid satin dresses, gracefully draped, to metallic belts, silver slivers at the midriff and sparkle scattered over coats.
The outerwear that opened the show was typical of the designer"s new spirit: a shapely belted coat flashed with sensuality as the front opened to show a stretch of leg. That was followed by small jackets and skinny, shiny pants.
But the show was built on dresses and on cyberspace blue, a color that bathed the ever-changing backdrop. The blue sky shades deepened to turquoise, the dresses always with the same sophistication and polish. Then, with perfect timing, a pink coat with scarlet shoes was followed down the runway by orange, pink and red, before the wave of color receded and neutral taupe introduced long gowns.
By opening up the Versus archives - the collection her brother originally offered her in 1989 - Versace regained a youthful energy. Maybe a new collaboration with Christopher Kane of London was behind a brief appearance of plastic paillettes. But this collection - and its success - was all Versace"s own.
It is rare for Karl Lagerfeld to misjudge a moment, but his retreat at Fendi into protective padding seemed somber, even sad, when fashion - and the world - needs a lift.
"Sophisticated barbarians," Lagerfeld said backstage about the complex treatments of fur and fabric: a sable coat dyed blue and melded with silver fox, silvered leather creating spiffy gaiters, or fur extending its ragged edge at the shoulders to create an interior epaulette. A leather breastplate caging a long-haired coat was weird, but not so wonderful, when you think of the extraordinary imagination Lagerfeld has inserted into wild things during his 40 years with Fendi.
There was a different theme of freedom: panels that flew free from the clothes, giving a dynamic to the silhouette. A silvered pony skin dress with a sable, free-flowing cape was striking in its futuristic way. And sometimes the fur padding worked beautifully, as in a fur-edged velvet dress with the faint hint of a lush Vermeer painting.
There was no question that behind this collection was extraordinary work on fabrics and fur, where even the most intricate workmanship did not seem to weigh the clothes down. Yet in spite of this exceptional craftsmanship, melding georgette and jacquard, mohair and shearling, the mood seemed monkish and somber. It would have been good to see the Fendi show without so much design intervention.
At Pollini, a pair of riding boots with a baroque heel was the designer Jonathan Saunders"s way of bringing together two elements from the brand"s founder. But as the models marched out in those boots, what did the fancy scroll look like printed on a dress? It was those ubiquitous 1980s again with big shoulders and fur sleeves.
"I think it is a strong affiliation, more than the "80s," Saunders said backstage, which could mean that, without the upswept hairdos and tough chic attitude, the clothes might have had a different resonance. The show opened with promise, as metallic buttons studded military-sharp tailoring. Softer dresses, with flying, folded panels in the skirts, were cute and stylish, with the pattern skills for which the designer is known. But Pollini"s identity needs more than symbols. It requires a recognizable style rooted in a meld of its history and a thrust forward to the future.
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