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Versace on the floor x Maria Campos

'Versace on the floor'. An article by María García Campos



In fashion, there is a norm that is not written but that is sacred: everything comes back. Season after season, we have relived in our flesh, with more or less success, the hippie airs of the 60s, the sexy 70 or the tacky 80s. So, it was only a matter of time before the 90s came back to look like the fucking most. The 90, yes. That decade mixes adolescent nihilism with excessive luxury and seasoned by a touch of minimalism, which if you had to live for sure you swore to bury in the depths of your closet. However, as a human being also strictly fulfills the unwritten rule of tripping twice, or more, on the same stone, today we are venerating everything related to the 90s. His jeans with high shot and languid silhouettes, internet and its beginnings full of bitmaps, MTV and its garish lyrics and, of course, its myths.

And is that these days, from the hand of Fox and the new season of American Crime Story, we remember the life, work, miracles and death of Gianni Versace. Icon par excellence of the ninety luxury. For posterity, have been left in our retinas the shirts impossible Jesulín singer, the iconic dress of safety pins by Liz Hurley or all advertising campaigns of the brand, made by the legendary Richard Avedon and starring his gang of friends: the super top models. They were other indisputable megastars of the 90s, of which the brand was skillfully used to become the new favorite of the star system and various lovers of bling bling. And the thing is that when building a brand, anything goes, if you know who and how you have to talk. Versace took advantage of a time plagued by new emerging rich and the internet boom to get several princesses and protagonists of the world of colourful die for their excessive designs, colorful and sexy to rage. Being his greatest achievement just that: to persuade us that what we needed was his somewhat tacky and inspired luxury in its beginnings in the Italian workers of the oldest trade in the world (in the words of the late Gianni). His logo, the head of Medusa, already made it very clear to us what we could expect from the Italian maison: intrigue, lust and desire. Which is precisely how one imagines Gianni Versace lived and died. His professional and family life has that aura of passion and entanglements proper to a good Italian tragedy. Elements that, without a doubt, not only amplify their legend but also underpin the great luxury brand that it built. An empire that her sister Donatella now directs, worthy of an exclusive fiction about herself, all said, and now embodied in fiction our most international Alcobendas girl, Penélope Cruz.

Surely, the speech of the Versace of the 90 would not fit today with the messages of slow living that so much like the millennials and company. But no one can doubt his ability to create a unique and unmistakable style on which he built the language of a brand that we can all remember without blinking. Because as the great Paul Brand said, if design is the silent ambassador of a brand, Versace shouted to us that a little luxury, excess and excessive passion never hurt anyone.