Fashion empire
After opening his Milan boutique in 1978, Versace quickly became a sensation on the international fashion scene. His designs employed vivid colours, bold prints and sexy cuts, which were a refreshing contrast to the prevailing taste for muted colours and simplicity. His aesthetic, which "combined luxurious classicism with overt sexuality", attracted much criticism in addition to praise.[16] He is quoted as saying, "I don't believe in good taste", which was reflected in his "brazen defiance of the rules of fashion".[16] A saying referencing Versace's rivalry with Giorgio Armani was: "Armani dresses the wife, Versace dresses the mistress."[17]
Gianni Versace often drew inspiration from historical periods like Classicism, Byzantium, the 18th century and the 1920s and 1930s. His designs reimagined elements such as Ravenna's mosaics and Roman drapery, incorporating them into contemporary fashion.
From 1978, Versace built the company with the support of his family, employing his sister Donatella as vice-president and his brother Santo as president of the company.[18] Donatella's purview extended to creative oversight, where she acted as a key consultant to Versace. Gianni would also come to employ Donatella's husband, Paul Beck, as menswear director.[19]
Among Versace's most famous innovations was his 1982 invention of a type of super-light chainmail called 'Oroton', which became a signature material in his outfits. His suits were inspired more by his experience in female tailoring, departing from masculine Savile Row models by crafting suits that accentuated the male form and "insisted on men as sex objects".[20]
Versace was very proud of his southern Italian heritage and infused his designs with motifs inspired by historical fashion and art movements, especially Graeco-Roman art.[19] This is evident in the company's logo, the Medusa Head and recurring motifs such as the Greek key. He also allowed his love for contemporary art to inspire his work, creating graphic prints based on the art of Roy Lichtenstein and Andy Warhol.[16]
Versace's work was deeply influenced by art, from Gustav Klimt, Robert Delaunay and Alexander Calder to Andy Warhol and Jim Dine. He often collaborated with contemporary artists and used their works as motifs in his designs. For example, one of his collections featured dresses inspired by Warhol's portraits of Marilyn Monroe and James Dean.[21] Versace also drew inspiration from Pablo Picasso and his appreciation for the artist extended beyond his fashion creations. He was an avid art collector and owned several works by Picasso. Following his death, 25 pieces from his personal Picasso collection were auctioned, showcasing his deep connection to the artist.[22][23]
In 1982, Versace expanded the business into jewellery and housewares, designing luxury furnishings, china and textiles for the home. He was unusual in retaining complete creative control over all aspects of his company.[24] In 1984 and '85, he contributed a specially appointed Gianni Versace Edition to the Mark VII line of American luxury automaker Lincoln.[25][26] In 1989, the firm expanded into haute couture with the launch of Atelier Versace. Versace became known for employing celebrities in his marketing campaigns and seating them in the front rows of his fashion shows, the first to do so. He is also credited with inventing the supermodel vogue of the 1990s, by discovering and featuring major supermodels such as Naomi Campbell, Christy Turlington and Linda Evangelista, all of whom he featured both on the runway and in advertisement campaigns.[17]
At the time of his death, Versace's empire was valued at $807 million and included 130 boutiques across the world.[19]
Stage designs
Throughout his career, Versace was a prolific costume designer for stage productions and performing artists.[27] He stated, "for me the theatre is liberation" and his designs were well served by his penchant for bold colours, drapery, embellishment and an encyclopaedic knowledge of fashion history.[16] He was a collaborator at the La Scala Theatre Ballet in Milan and designed the costumes for the Strauss ballet Josephslegende in 1982 and Donizetti's Don Pasquale.[16] He also designed the costumes for five Béjart Ballet productions: Dionysos (1984), Leda and the Swan (1987), Malraux ou la Métamorphoses des Dieux (1986), Chaka Zulu (1989) and the Ballet du XXme Siècle.[16][27] In 1990, he designed the costumes for the San Francisco Opera's production of
