Donatella questions the certainties of machismo with an energetic collection that combines feminine vanity and rave culture.

A gigantic racing car crashed into a lush wall of flowers: the work of the American artist Andy Dixon, who had already made his creative genius available to Donatella at the last Salone del Mobile, welcomes the guests of the men&#39;s fashion show Versace in the gardens of the legendary street number 12 of Via Ges&ugrave;, the inviolate sanctuary of the maison from the time of Gianni.

Unconventional and more fit than ever, Donatella chooses to play with the virility of the Versace man, questioning her aesthetics and muscles. The Gascon-type motor machismo thus lets its more feminine side bloom, made of sensitivity, vanity and whims: the iconic prints of the brand crush the accelerator towards the fuchsia nuances of the oleanders, the skin mixes at full speed with the &#39;animalier, the fabrics become coated, iridescent and glossy, the silhouettes dry and defined. It is the Vanitas Vanitatum et Omnia Vanitas of the ancients that echoes between the flowers and the printed poufs of the guests, between rediscovered narcissism and anomalous virility. But that&#39;s not all: Donatella has in fact decided to dedicate the collection to her friend Keith Flint, the Prodigy frontman who died last March, infusing the collection with an impressive rave charge: on the notes of Smack my Bitch up, neon-haired models embody to perfection the liberating essence of those years, between studded leather and tye-dye fabrics, in a sound and stylistic plasma that inevitably ends up making its mark.

Versace's narcissistic rave

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