MILAN — With “Donatella’s Hit Picks” and an offer to personalize looks, the house of Versace introduced this week its online flagship store, versace.com.
The site is designed to energize the brand in the digital arena and to create a buzz among the wired generation, while keeping the iconic images — like a mosaic floor pattern — that represent Versace and its universe. And the e-commerce section, beginning with core European countries, is to roll out, from Austria to the United States, on Oct. 17.
The relationship of Italian designers with the digital world is about more than selling in cyberspace. The Milan shows Friday for the summer 2013 season proved how much the fabric of fashion, literally and figuratively, is connected to handwork and craft.
Thus, the Etro show was backed by a giant set of painterly flowers, lavish in their mighty brush strokes. And Veronica Etro claimed proudly in her program notes that all the fantastical prints were done not on a computer but by traditional techniques of “the nearly extinct art of hand-painted prints.”
Italian style is facing the aftershock of a digital revolution that threatens to overwhelm many of its skills, if not make them obsolete.
The Donatella Versace approach is to focus on the namesake line and to let Christopher Kane, as her companion in design on the Versus collection, play with the plasticized fabrics and digital chain prints natural to his generation. Sitting beside Mr. Kane, in a preview of shows that were to follow each other Friday evening (with a concert by the singer Beth Ditto), Ms. Versace spelled out her own goal.
多纳泰拉·范思哲(Donatella Versace)的做法是注重以自己名字命名的系列，并请克里斯托弗·凯恩(Christopher Kane)做她的搭档，共同设计“对抗”(Versus)系列，他们使用可塑性面料和数码链式印花，这些对凯恩这一代人来说是非常自然的。两场时装秀即将在周五晚上先后上演（歌手贝丝·迪托[Beth Ditto]为发布会现场伴唱），观看预演的时候，坐在凯恩先生旁边的范思哲女士说出了她自己的目标。
“I wanted tailoring — Versace is well known for its dresses but our heritage of tailoring has been a little bit lost,” she said, although in this collection, inserts of lingerie lace into firm black fabrics gave the usual Versace glimpses of flesh.
Another message came as tiny metallic fringes, children of those metal mesh effects that seemed so forward-thinking when Gianni Versace invented them back in the 1980s.
Unlikely though it seems that the glamorous Ms. Versace would ever join the hippie world, she picked tie-dye prints to create an indeterminate, watery pattern on the dresses, sometimes clinching them with the famous Versace emblem of a Medusa head. It remains to be seen how much the designer will come under the influence of the high-tech effects that Mr. Kane offered so effortlessly in his powerful London collection.
The Etro show was so focused on fabric that there were times when it seemed that the designer had taken a stretch of material, draped it at a slant across the body — and left it at that.
While solid colors — and there was a pure green silk and plain orange — emphasized the streamlined, geometric shapes, the flowers sometimes seemed poorly planted within the graphic outline.
Theoretically it sounded smart: a contrast between the richly painted florals and the pared-down silhouettes. But the shapes, like deep sleeves on a boxy top, came through as a nod to the 1980s. Perhaps — although it might seem mean to suggest it — patterns digitally worked to fit with the body and the cut of the clothes might have been easier to pull off.
Just Cavalli was an opportunity for Beyoncé’s sister Solange Knowles and the rapper Azealia Banks to contemplate from the front row the print skills of a designer who can create an idyllic Mediterranean garden on a small piece of cloth.
“就是卡瓦利”(Just Cavalli)时装秀上，坐在秀场前排的是碧昂斯的妹妹索兰格·诺利斯(Solange Knowles)和说唱歌手阿兹利亚·班克斯(Azealia Banks)。他们可以仔细观看设计师的印染技术是怎样在一小块面料上创造出田园诗般的地中海花园。
Linking animal patterns to flower prints (a trend of the season), Roberto Cavalli succeeded in developing all sorts of inspirations, from blue patterns on white that looked like fine porcelain to tie-dye prints (another current look).
Lace inserts on brief dresses seemed familiar. But whether it was an expert or the designer himself, an eager photographer, who captured the essence of a southern summer as sea creatures and bougainvillea, the prints were fresh and enticing.
At Moschino, the black and white parade that opened the show was so precise and geometric that it could have been a rerun (white hard hat and all) from the 1960s of André Courrèges.
These graphic lines seemed like a lesson in geometry — but one that was first taught a long time ago. Then the designer Rossella Jardini added color, first as basic shades like blue, red and yellow, then as florals that changed from flat-plane outlines of daisy shapes to a conglomeration of florals.
The Italian way with print has a history and a heritage. But although comparisons might seem unfair, after London Fashion Week’s displays of ultra-imaginative digital printing, Italy’s efforts seem rather tame.