Gianni Versace

29/09/2011

“Excess is entertaining, eccentricity stimulating. Only one rule applies, spontaneity.”
Gianni Versace, Signatures

On 2 December 1946 Nino and Francesca Versace welcomed their second child. They named him Giovanni Maria, Giovanni – for his maternal grandfather and Maria for Nino’s sister. Gianni as they called him already had a brother, Santo, who was born two years earlier and Donatella – nine years after.

The family lived in Reggio di Calabria, the largest city of the Calabria region, the boot-shaped peninsula in the south of the country, surrounded by mountains that separate it from the rest of Italy.
Not many people lived there, many emigrated back in 1800s, two-thirds were killed during an earth-quake in 1908 and some left the region in the early 1950s following the first signs of a post-war boom. Those who stayed were touch, hard-working and old-fashioned folks with incredibly strong family ties and values.

Nino and Franca Versace were a hard-working bunch, so by the mid 1950s they could afford some little luxuries including a spacious apartment, a car and a television, one of the very first in the city. While Nino Versace was selling gas canisters, refrigerators and washing machines, Franca became known as Reggio’s best dressmaker who created beautiful custom made clothes for the city’s most elegant ladies. Needless to say that her own children were among the best dressed. She opened a small boutique, bought patterns from the emerging couture houses in Rome and hired a few women who could help her make the dresses.

Gianni Versace childhood | short biography via fashioned by love
Gianni never went to fashion school nor was particularly bothered when it came to getting degrees or passing exams. His mothers workshop provided him with inspirations and tought him the skills he was after. The rest didn’t really matter. At first, little Gianni was allowed to play with the offcuts of fabric, which most visitors found adorable. At the age of nine, however, he designed his very first dress, a one-shouldered velvet evening gown. 

A few years later his mother trusted his taste so much that Gianni was allowed to travel to Messina and choose new fabrics. He spent hours and hours in the atelier, flicking through numerous fashion magazines and sketching. His dream world was far away from Reggio. Paris was calling Gianni’s name. He stayed in Reggio until the age of twenty-five working for his mother in a boutique she opened next to her atelier, polishing his tailoring skills, learning how to sell, attending fashion shows and discovering exciting brands including Laura Biagiotti, Missoni, Krizia and Chloe. While in Paris, he met young Lagerfeld and the two became life-long friends.

The shop was flourishing, but for Gianni it wasn’t enough. He wanted more. His dream was to design his own clothes. He started bringing his sketches to fashion shows he attended and one day got attention from a knitting company called Florentine Flowers. He was offered a job. On 5 February 1972 he finally boarded a plane and set off to Tuscany.

Gianni Versace was hired by Salvatore Chiodini and Ezio Nicosia, the agent and owner of Florentine Flowers who were then looking for fresh ideas. Versace successfully designed an autumn/winter collection for the brand and made a new move. His next stop was Parisini of Santa Margherita followed by Callaghan in Novara, Alma in Bareggio and, in 1973, Genny and Complice. He worked very hard, leaving very little time for anything else, growing tired of being a hired designer. It paid off.

Gianni Versace 1960-1970s biography via fashioned by love
On March 28 1978 his own very first Gianni Versace Donna collection was shown at the Palazzo della Permanente, a contemporary art museum in Milan. The collection had a floral, romantic feel and also included leather trench coats softened by wool fabrics of the skirts decorated with delicate silk and chiffon petals. Although the collection wasn’t a huge hit among the press to begin with, both Italian and French Vogue picked the trench coats to use in their editorials a few months later.

The next few years were spent on creating the signature Versace style. Gianni tried mixing the fabrics, designed collections in Renaissance style and then something very modern, almost Japanese origami-like. He wasn’t satisfied.

All the time he wanted perfection, something modern and fresh but also something that would make history. He felt that he wasn’t there to create complicated silhouettes or spend too much time playing with hemlines. He wanted new patterns and new fabrics, too.

In 1982 he designed a fabric that not only won him a series of L’Occhio d’Oro awards for Best Womenswear Designer, but also put him firmly on the fashion map.

Versace Oroton Chain mail | versace campaign | Bridgette Hall 1994
The Oroton chain mail was a remarkable invention. the fabric that made the body look as if it was covered in liquid gold was a fine light mesh that would mould to every curve.

He moved to lace, leather and silk – one of his favourite fabrics and was the first designer who used denim in a couture collection. His own style was emerging – a bold, extravagant and lavish glamour that’s so easily recognisable.

Versace mood board by Bruce Weber
Versace clothes were also known for their ability to compliment the body and make women look and feel their best celebrating their curves in a most sensuous manner.

Every collection was presented by supermodels – a phenomenon also invented by Gianni Versace. The Trinity, Linda, Naomi and Christy, followed by Cindy, Helena, Tatiana, Carla, Claudia and Nad├Ęge would appear on a catwalk as epitome of gorgeousness. Most of them were editorial models who didn’t do catwalk, but Gianni and Donatella merged the two together creating a new concept.

Versace supermodels by Richard Avedon
He never made his models adopt a new look as seasons change. Instead Versace polished their own, adding charisma and glamour to the natural beauty. He paid them enormous amount of money (as much as $50000 for a show compared to £1000 an average catwalk model would earn during entire Milan fashion week) and treated each girl like a queen who stayed in the best hotels and had exclusive access to parties, dinners, spas and private jets. He remembered their birthdays and always sent them surprise gifts and kind notes. He turned fashion models into celebrities and they made his clothes even more desirable.

Supermodels in Versace campaign by Richard Avedon
Versace fashion was craved by those who wanted or needed to be noticed. His clients (some of whom also became his friends) included Elton John, Princess Diana, Sylvester Stallone, Madonna, Sting and Trudie Styler, Demi Moore and Hugh Grant. Liz Hurley, Grant’s girlfriend became famous overnight after she wore infamous pin dress to a premier of Four Weddings and a Funeral. She later became one of the Versace family friends and was a frequent visitor in Casa Casuarina, Gianni’s home in Miami.

Santo, Gianni & Donatella Versace
Together with Santo and Donatella, Gianni built his fashion empire that now included ready-to-wear Versace collections for men, women and children, several diffusion lines – Versus, Istante, Versace Jeans Couture, Versace Sport, Versatile and Versace Classic V2, plus jewellery (real and costume), perfumes, accessories, cosmetics and interiors allowing people not only wear Versace, but furnish an entire home with Versace items, from china, glass and cushions, bath lined and fabrics to furniture and lighting. Although he had support of his siblings and often turned to Donatella for advice, Gianni Versace was the one who designed every line and fabric pattern, checked every sample, followed every order and decided on which editorial images could be used for advertising campaigns. He also worked with La Scala designing costumes for Josephlegende, Don Pasquale, Doktor Faust and several ballet performances including Dionysos, Leda and the Swan, Malraux ou la M├ętamorphose des Dieux and Chaka Zulu.

The profits were invested in properties and art, particularly, Picasso, which at the end sparkled a big battled between two brothers and caused Gianni change his will leaving 50 per cent stake in the company to beloved niece Allegra, Donatella’s daughter, 30 – to Santo and 20 – to Donatella. There were talks that he later regretted his decision and was going to change the will, but fate had a different plan.

Allegra & Gianni Versace
Gianni Versace never had a body guard. “Why should I?” he said once. ”I’ve never hurt anyone, and I don’t see why anyone would want to harm me.” Things were no different on Tuesday, 15 July 1997 when Gianni left his Miami home and walked to the nearby cafe to get a coffee and have a browse through international glossy publications. He returned a few minutes later. As he slipped the key into the lock on the iron gates, he was approached by Andrew Phillip Cunanan. The twenty-seven year-old college drop-out and one-time gigolo from San Diego was driven by his overwhelming jealousy and an insatiable appetite for fame and fortune and at the time was one of the FBI most wanted serial killers. The man raised his 40 calibre Taurus handgun and pulled the trigger.

Versace Casa Casuarina Florida
At 9.20 a.m. Gianni Versace was pronounced dead. The memorial service took place at Milan’s Catholic cathedral, the Duomo at 6 p.m. on 22 July 1997.

“He made the dream of his youth out of his life.”

Gianni Versace
Photo sources: versace.com, Versace Atelier Fall 1994, Versace Fall 1994, Vogue Italia January 1975, Huffington Post, Vogue US 199(?), Richard Avedon Foundation
The post is based on the following sources: official Versace website, Gianni Versace: Fashion's Last Emperor by Lowri Turner, Versace (Fashion Memoir) by Richard Martin, House of Versace: The Untold Story of Genius, Murder, and Survival by Deborah Ball and Versace: Signatures, the quote by Karl Lagerfeld via vogue.com

Stylish quote

28/09/2011

Christy Turlington photographed by Steven Meisel for Versace Spring/Summer 1994 campaign / Vogue Italia March 1994
"Style makes sense only if it is your own."

Gianni Versace

Photo source: Christy Turlington photographed by Steven Meisel for Versace Spring/Summer 1994 campaign / Vogue Italia March 1994

Versace: campaigns and stories

26/09/2011

Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
“Versace is a religion”
Santo Versace

Tell me, honestly, if you were a little bit surprised to see that this fashion week’s dedicated to Versace. Trust me, I had my reasons. The main one being my sincere wish to tell you a story about real Gianni Versace, a talented designer who made an incredible impact on the world of fashion and changed it forever. There will be no gossiping and the word “vulgar” is not going to be used. This week will be filled with passion, sensuality, beauty and art created by people who were and are truly fashioned by love.
Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
I’ll begin with a few images from  the Atelier Versace Spring/Summer 1994 campaign featuring Christy Turlington and Stephanie Seymour photographed by Steven Meisel and the Herb Ritts' El Mirage from 1990, both produced by Donatella Versace.

Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel)
When it came to advertising Gianni Versace was famous for his campaigns that were often made to look like editorials rather than advertising. From the very beginning he wanted the best, most creative, extravagant, sensual and fun campaigns the company could only afford. The shoots often lasted for up to 10 days and involved dozens of people.

Christy Turlington for Versace El Mirage Campaign Fall 1990 (photography: Herb Ritts)
Christy Turlington for Versace El Mirage Campaign Fall 1990 (photography: Herb Ritts)
Christy Turlington for Versace El Mirage Campaign Fall 1990 (photography: Herb Ritts)
The budget was limitless. Photographers, the best of their kind, so exclusive that many magazines couldn’t even afford them required the best set designers, make-up artists and hairdressers.

And, of course, the supermodels. Linda, Naomi, Christy, Kristen, Cindy and Helena, just to name a few were gracing the covers and pages of the top fashion publications making Versace clothes even more desirable. By mid-1990s Versace bought about 3000 pages of magazine advertising a year.

Photo source: Stephanie Seymour & Christy Turlington for Atelier Versace Spring/Summer 1994 campaign | Vogue Italia March 1994 (photography: Steven Meisel), Christy Turlington for Versace El Mirage Campaign Fall 1990 (photography: Herb Ritts)

Autumn inspirations

23/09/2011

Merle Bergers in Grazia Germany No. 36 September 2011 (photography: Leo Krumbacher, styling: Nino Cerone)
Whether it’s the cut, colour, shape or texture, the autumn is about beautiful comforts that feel like a warm hug and make me feel feminine. It’s just a mood board, a bit of fun, a few ideas that help me create a few new looks with clothes I’ve already got, although I’ll need to get a new lipstick and continue my search for that special dress or top in a rich shade of burgundy.

Merle Bergers in Grazia Germany No. 36 September 2011 (photography: Leo Krumbacher, styling: Nino Cerone)
Amelia Heinle in In Style November 1999 (photography: Matthew Rolson)
Elle Russia November 2010 (photography: Jan Welters) | burgundy | marsala
Louis Vuitton Fall/Winter 2010
Louis Vuitton Fall/Winter 2010
Kendra Spears in Vogue UK August 2010 (photography: Ben Weller, styling: Emma Elwick-Bates & Verity Parker)
Natalia Gotsiy in Vogue Paris October 2005
Marie Claire UK September 2009 (photography: Jonty Davies, Myres Robertson, Heather Favelli, Stewart Shining, Iris Brosch & Frederic Pinet)
Photo source: Merle Bergers in Grazia Germany No. 36 September 2011 (photography: Leo Krumbacher, styling: Nino Cerone), Amelia Heinle in In Style November 1999 (photography: Matthew Rolson), Elle Russia November 2010 (photography: Jan Welters), Louis Vuitton Fall/Winter 2010 via style.com, Kendra Spears in Vogue UK August 2010 (photography: Ben Weller, styling: Emma Elwick-Bates & Verity Parker), Natalia Gotsiy in Vogue Paris October 2005, Marie Claire UK September 2009 (photography: Jonty Davies, Myres Robertson, Heather Favelli, Stewart Shining, Iris Brosch & Frederic Pinet)

LFW: Mary Katrantzou Spring 2012

22/09/2011

Mary Katrantzou Spring/Summer 2012
“Inspired by nature, but viewed through a hyper-real lens", Mary Katrantzou’ Spring 2012 collection set in the old Eurostar terminal softened with thousands of carnations was a hypnotic blend of stunning images printed on tulle, chiffon and techno fabrics.

Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
From borrowed from Paradise fields of flowers, exotic birds, and coral reefs to bows of steel, car parts and tin cans inspired by the crushed-car sculpture of the American artist John Chamberlain the prints were mesmerising.

Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
It was a fresh, rainbow-like, summer-perfect and totally unforgettable collection that looked like a wearable work of art.

Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Mary Katrantzou Spring/Summer 2012
Photo sources: Mary Katrantzou Spring/Summer 2012 via style.com, fashionising.com

Gucci love

21/09/2011

Gucci spring/summer 2012
Fell in love with this dress after watching Gucci Spring 2012 collection streamed on-line earlier today. It’s so simple, chic and sensual in a way it moves and the back view can totally catch you off guard. It would be a dream to have this piece one day.

Photo source: Gucci Spring/Summer 2012 via style.com

Stylish quote

Carolyn Murphy in Vogue US June 1997 (photography: Steven Meisel)
"Real fashion change comes from real changes in real life. Everything else is just decoration."

Tom Ford

Photo source: Carolyn Murphy in Vogue US June 1997 (photography: Steven Meisel)

LFW: Burberry Prorsum Spring 2012

19/09/2011

Burberry Prorsum Spring 2012
There are a lot of things I love about Burberry even before I get to talk about the actual clothes and accessories. I adore Christopher Bailey for being so incredibly talented and charming and actually taking his time to twit personally just about an hour before the show no matter how crazy busy it must have been for him, for making a small video for all of us anxiously waiting before our PC screens and, of course, streaming the show live later and twitting a photo of every look before it hit the runway.

Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
Again it was the highlight of the London Fashion Week for me. The collection was perfect, yet again, from head to toe, from the stripy raffia hats to the most gorgeous sky-high booties, sandals and wedges, especially those, in delicious toffee-coloured leather, woven and decorated with wooden beads and, of course, incredible skirts, pleated dresses, trenches and parkas in between. I loved the tribal and batik prints, leather and raffia details and rich colour palette.

Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
Burberry Prorsum Spring 2012
With his new Spring collection Christopher Bailey gave us coquettish dresses, printed pencil skirts, sweet tops and dresses draped around the body and decorated with most adorable bow details. He also kept in mind the fact that good old British summer isn’t so much about floating around in barely there silks, but requires some wardrobe substance to protect our pale selves from the rain and temperamental weather. As a result knitwear, classic trenches and cropped parkas, from beautifully simple to most elaborate works of art completed this yet again gorgeous collection.

Photo source: Burberry Prorsum Spring/Summer 2012 via style.com