Vitale's Versace Debut: A "Pop Historicism" Love Letter to Gianni with a Modern Twist

Dario Vitale recently unveiled his inaugural collection for the house of Versace, a deeply personal tribute described as a "love letter" to the late founder, Gianni Versace, and his foundational design principles. The presentation took place amidst a striking backdrop of oil paintings, ancient statues, and medieval furniture within Milan's seldom-visited Pinacoteca Ambrosiana. This unique setting, reminiscent of a museum, perfectly embodied Vitale's concept of "pop historicism," a term he used to define the collection's blend of past and present.

Vitale truly made the museum space his own, strategically placing vintage Versace garments throughout the galleries – nestled between chairs, couches, a well-used dog basket, and notably, his own bed with personal sheets taking pride of place in one grand hall. While initially communicated to editors as a mere presentation, the event ultimately transformed into a full-fledged runway display, showcasing the collection with dynamic movement.

This debut was particularly significant, marking the first major show since Prada's substantial acquisition of Versace for $1.25 billion earlier this spring. Conspicuously absent from the event were two prominent figures: Vitale’s former mentor, 76-year-old Miuccia Prada, with whom he collaborated at Miu Miu, helping to elevate it into a leading contemporary fashion label. Also missing was 70-year-old Donatella Versace, who had skillfully guided the house for three decades following her brother’s tragic passing in 1987.

A dramatic shift in the brand’s aesthetic was immediately apparent. The mood and casting, a diverse blend of professional models and street talent, presented a notably younger image compared to recent Versace shows, appearing almost two decades fresher. The models exuded a vibrant, almost sexually charged energy, showcasing significant skin and marching with palpable swagger. Several alluring dresses seemed designed to playfully unravel at the back, revealing glimpses of flesh and underwear. Vitale, 42, clarified his concept, stating, "My concept of sex in this context is not the tactile act it’s more the idea or its smell. It’s the souvenir the day after."

Vitale’s distinctive silhouette emerged with authority, characterized by ultra high-waisted pants and short, wide jackets featuring strong power shoulders or dramatically exaggerated curves. He introduced an impressive range of new leather jackets, crafting "rock dandy" looks for men and "steamy seductress" ensembles for women, often incorporating vertical strips for added impact. Much like the period furniture he integrated into the museum, the collection’s garments evoked the vibrant spirit of the '70s and Gianni's joyful '80s in Miami, bursting with bright South Beach hues like lime green, pomegranate, and ultraviolet. Tailoring favored looser, more forgiving forms, complemented by multiple very short shorts for men, echoing the confident "body beautiful" ethos of early Versace.

The diminutive Vitale, sporting a matinee idol mustache and dressed in a beige leather jacket and oversized black pants, shared his deep personal connection to the brand. "My mother was a faithful client of Versace, so I knew Gianni’s work since I was a baby. I wanted to search for the feeling of the company, going behind the clothes to find another layer," he explained. Born in Naples, Vitale pursued his studies at Instituto Marangoni in Milan, gained experience at Dsquared2 and Bottega Veneta, before joining Miu Miu in 2010. He further posited, "I think Versace belongs to everyone in popular culture."

While Gianni Versace was renowned for his bold prints, often drawing from the mythology of Magna Graecia native to his Calabria, Vitale's collection showed little of this tradition. Despite numerous stone Medusa heads, Versace's iconic symbol, being present in the museum, they were conspicuously absent from Dario's designs. Instead, Vitale's prints featuring women's heads were ambiguous – was it Marilyn Monroe or Bianca Jagger in short skirts or jeans? The answer remained elusive. Interestingly, Vitale had sent guests a charming pre-show letter quoting Keats, whose famous "Ode to a Grecian Urn" touches on enduring art.

Overall, Vitale’s Versace debut was undeniably impressive, brimming with fresh ideas, sheer chutzpah, and exceptional tailoring talent. While perhaps not a flawless "home run," it was certainly a winning display. Following the show, Vitale upheld the house's tradition of generous hospitality with a celebratory fete at the famed Milanese restaurant, Peck. However, a peculiar subdued atmosphere lingered at the soirée. The absence of any member of the Bertelli family, owners of Prada, or their CEO Andrea Guerra, led to quiet speculation among guests about Vitale’s potentially short tenure at Versace. As those who have visited Keats' grave in Rome might recall, the poet's epitaph reads, "Here lies one whose name was writ on water," a poignant reflection on the fleeting nature of life and fame.