Oggi
But what of the fashion industry in Italy today? After the tragic death of Gianni Versace in the 90s, the brand became headed by his sister Donatella, who had famously been his muse and Versace continued to thrive under her guidance as “the supers” stomped down Milanese catwalks throughout the late 90s and into the 21st century. Versace has always set itself apart from other Italian brands in that Gianni and his sister were always more so interested in the opulent and sexy clothes they were creating than in bags and accessories.
Only 30% of Versace’s revenue comes from accessories, whereas this number is much higher for brands like Gucci where almost 75% of the total revenue comes from accessories, underlining Versace’s passion for supplying ready-to-wear.
But in recent years, the brand seems to have lost clout as Ms. Versace’s designs begin to lack luster. This is more noticeable in her most recent work as both the Spring and Fall ‘18 collections draw obvious inspiration from the designs of her late brother in commemoration of the 25th anniversary of his murder. As such, the most recent collection, arguably to be considered more of Donatella’s “own” work, pales in comparison.
During this creative drought, designer Michael Kors stepped in to buy the brand and its assets, taking it under the wing of his all-American group, Capri. When the news broke, I admittedly panicked, because although Versace seems to be losing momentum on her own, the brand remains a mainstay of Italian fashion that transcends the word “iconic”. I couldn’t bear to see this legacy tarnished.
But Donatella was quick to silence these critics, assuring them that she would not be stepping down out of her role as creative director. However, in the days that followed Kors revealed that he has intentions to change the business model of the brand, increasing revenue made on accessories from 30% to as much as 65%. This would diminish the importance of the clothes themselves to the house, so can it maintain its identity?
Much of the same can be said for a multitude of other Italian designers. At Fendi, Karl Lagerfeld is the best part of 90 and still in charge of 3 of the world’s largest fashion houses. Is he really producing so many collections each year all by himself, or is he undermining his little helpers?
In a world fueled by social media likes, Dolce & Gabbana employ a cast of relatively unknown influencers each year to force feed us pretty much the same collection. Is this innovative or is the sensationalism this causes just a way of shirking creative responsibility?
Today, Italian fashion is far from doomed. Some would argue that this mindless excess has triggered a wave of more thoughtful design. At Marni, minimalism and inclusivity are the buzzwords that set them apart from so many others. At Prada and Gucci, intentionally kitsch and over the top designs mock the overindulgence of other houses. Italian fashion has something to say, and these designers are determined to make themselves heard.
MODA
By Oli BrIckNELL