The 1990s are very much in vogue lately. They are becoming the theme of many exhibitions and inspire film series, with the latest season of THE CROWN at the forefront. In keeping with this trend is an excellent retrospective exhibition showcasing the extensive body of work of the Italian fashion designer Gianni Versace, who died tragically 25 years ago and whose heydays marked early and mid 90s, on view at the Groninger Museum in Groningen, in the north of the Netherlands (3.12.2022 – 7.05.2023). Curated by Karl von der Ahe and Saskia Lubnow, the exhibits come from the Metropolitan Museum in New York and private collectors.
At first it is surprising that such a spectacular exhibition, ranked among the top of the most important expositions devoted to fashion history in 2022/23, is being presented precisely in Groningen, a beautiful city that is home to one of the best universities in the Netherlands, but is a bit off the most travelled path.
The explanation is provided in the foreword to the beautifully edited catalogue of the exhibition. The museum building, completed in 1994, was designed by another Italian, Alessandro Mendini. Although Mendini and Versace never worked together, they both represent post-modernism, a movement that was internationally style-defining. A generous use of colour, exuberance, and free quoting from the set pieces and ornaments of the past are shared characteristics. (Page 13)
The exhibition occupies two floors of one wing of the building and is characterized by a very clear thematic division. At the beginning visitors are presented with a timeline marking the most important moments of Versace’s life. We learn that he was born (1946) and grew up in Reggio di Calabria, in southern Italy, and his mother was a seamstress, which probably influenced his choice of career. His place of origin was both a burden and a source of inspiration. A burden, because after moving to Milan in 1973, he had to face negative stereotypes about the people of southern Italy. Inspiration, because he took many elements of his designs directly from the rich heritage of Greek antiquity, ubiquitous in his native Calabria. Hence the famous head of the Medusa (official logo since 1993), visible on buttons, belts and fasteners, the meander motif often repeated on fabrics, or prints with representations of Greek statues and Doric columns. This aspect of Gianni Versace’s work is explored in the part of the exhibition entitled MAGNA GRAECIA.
It was Versace’s connection with Greek antiquity that resulted in a collaboration with the French choreographer and opera director, Maurice Béjart, for whom Gianni Versace designed costumes. Their Dionisos Suite ballet was staged in 1984 in La Scala Opera in Milan.
Further the exhibition explores maritime and tropical inspirations that emerged in Versace’s designs after he moved to Miami. His associations with Italian pop culture are featured in the area named Italo Pop, although many visitors may recognize the music genre in the background as Italo Disco.
American pop culture played no lesser role as an inspiration for Versace who started playing with motifs used by Andy Warhol in his prints. He also incorporated op-art patterns and animal prints into his designs.
Up to this point the exhibition is dominated by bright colors. An exception was made in the room with outfits inspired with Punk and adult night life subculture. It is here that the famous dress worn by Liz Hurley on FOUR WEDDINGS AND A FUNERAL premiere night can be found. It was precisely that dress everyone was talking about and that gave Hurley a celebrity status literally overnight. Lots of black leather, huge golden pins, chains, and studs mixed with Versace’s Medusa heads.
The exhibition ends on the second floor with two vast collections – one with iconic Versace printed silk scarves, second – with printed silk shirts, his timeless legacy.
The very last accord is the memories of his legendary fashion show of 7th March 1991 in Milan, presenting Ready-to-Wear collection for Autumn/Winter 1991-92. The show lasted 47 minutes, featured 109 looks, played 20 music tracks, and accelerated the careers of so-called super models – Cindy Crawford, Claudia Schiffer, Naomi Campbell, Linda Evangelista, and a few others. They were all there. Footage of the show appears on the wall while real life outfits are presented on a large catwalk arranged in the middle of the room.
1990s was a decade of optimism. After the fall of Berlin Wall, former Eastern Bloc countries joining the family of Western democracies, Francis Fukuyama having declared the end of history, everyone thought that nothing bad can happen to our world. Phrases like international terrorism or climate catastrophe were not known yet. Maybe that is why we miss these years and try to reconnect. This optimism and positive energy can be felt throughout the whole exhibition, in bright colors, bold patterns and plenty of light. Music tracks illustrating the exhibition contribute to the party feel and I have noticed quite a few people humming the tunes and – not really dancing – but moving with the rhythm.
I have never been a dedicated Versace fashion admirer, but I absolutely loved the exhibition in Groninger Museum. The way it is arranged, the accuracy of all texts explaining his artistic path. I enjoyed it for aesthetic and emotional experience it provides, also for historical insight into the development of fashion industry and of modern societies. Fashion is a very sensitive indicator of social climate at any time. That is one more reason why I loved this exhibition – it gave me an opportunity to look back and understand a bit more.
