Kane's story this time was a neat summary of Milan's summer feel: longer lengths, hot blocks of colour, a neat way with florals, and youth.
Christopher Kane's brief at Versace seems enviably simple: delve into the almost bottomless archive of a house you have admired for years, revive at will, rework at whim and offer the whole lot in a nice, simple presentation without any of that stressful show-type business. Throw in a healthy paycheque, the talents of the Versace ateliers and expert factories to manufacture the whole thing, and you've got a dream package. The important thing in the package though is Kane's talent, which is precisely what has made this exercise look so effortless and given it such great critical and commercial success.
Kane's story this time was a neat summary of Milan's summer feel: longer lengths, hot blocks of colour, a neat way with florals, and youth - he even presented the show in a mock-up a children's playground to underline that part of the message. He's a Scotsman through and through, so he threw some neon-tone tartan in to jazz things up - that managed to look new, while at the same time hinting at his own past collections and nodding neatly to Versus' early nineties history. Remember that yellow and black tartan mini Cher sports in Clueless? Maybe you don't, but Versus had a few dead-ringers.
It's those kind of kitsch-but-cool references Kane's Versus girls love, and they're more than happy to trust his eye and wear his retooled reclamations than root about in charity shops and vintage stalls for the Gianni originals he's quoting from. As for the rest of us, he hit the nail on the head with paintbox-bright shoes and bags that put the accessible in accessory.