fun at the fashion community, twisting
traditional designs and making
money in an arena he openly distains.
But Gigli gave license for real design
whimsy. For once, Italian fashion
couldn't be buttonholed. A true
original had emerged — someone to
stand up to the bold visions of French
designers Christian Lacroix, Thierry
Mugler and Jean-Paul Gaultier.
Suddenly, fashion editors, thanks to
Gigli, were dressing down. Black was
no longer de rigeur; in fact, it was
distinctly passe. Soft, pointed elfin
shoes. Long baggy blouses without
shoulder pads. Loose, comfortable
pants. It was okay to relax again.
Fashion even began to take on a
utilitarian look, and colors were
remarkably uniform-like: olives,
browns, tans. A move to austerity.
And yet . . . no trend lasts too long in
Italy, where the only constant is
change.
Spring '91 seems to herald a reac-
tion against both the overblown
grandeur and consequent austerity of
previous collections. Milan has finally
learned not to take itself too seriously.
The Sixties have made a stunning
return — only this time it seems to be
a parody of the looks that first put Ita-
ly on the map. Emilio Pucci, the
famous Marquis who made loud silk
prints a must in haute society, is back
with a vengeance. It's the "sit-up-and-
notice-me" post-Gigli era, complete
with patent leather boots and micro-
minis with matching accessories.
Miniskirts and dresses with long
jackets dominate — all in wild, color-
ful geometric and optical Mary Quant
prints.
Gianni Versace, the dark prince of
star-studded power dressing who
Monroe screen-printed Capri pants,
shows his new-found irreverence with
Mod looks derived from the Sixties.
There are miniskirts and ultra-short
"trench coat" dresses in bright, "Age
of Aquarius" and geometric prints.
Bodysuits and dresses are completely
hand-beaded in Warhol and Vogue
magazine retrospective designs.
In colors, Versace is influenced by
modern artists like Vasarely, Kandin-
sky and Chagall. He calls it color
blocking — a layering of prints, se-
quins and embroidery over one
another. It is certainly a look of bold
self-expression.
Gianfranco Ferre is usually men-

