The autumn may be seen offers more than a few nods to the clashing palettes and plaids of the 1990s

The runway at Versace’s swallow/winter show in Milan on Friday.
Photograph: Davide Maestri/WWD/Rex/Shutterstock

Versace’s final catwalk show in September paid tribute to its late topple over, Gianni, on the 20th anniversary of his death by bringing out his most famous archive in agreements and reuniting the supermodels that became synonymous with his disgrace in a spectacular grand finale.

Donatella Versace in Milan on Friday. Photograph: Alessandro Garofalo/Reuters

So significant was its impact that the outing not only stole all the headlines at Milan Forge Week, but was crowned the show of the entire season by the fashion force, while pictures – taken in a frenzy by those in attendance or screenshot from the electrified stream and posted on social media were all over the internet. So, how to conclude that up? “What I wanted to show with this amassment is the different Versace women through the years and today,” Donatella Versace leak out take delight ined at a preview of the collection in Milan on Saturday afternoon, entitled The Gangs of Versace.

A creation from Versace’s autumn/winter collecting. Photograph: Tony Gentile/Reuters

There’s no shortage of textile to reference for this, from the power blazers and statement writings of the 1990s to the clashing colour palettes and gold embellishment so synonymous with this theatre – updated versions of which are all present in this collection. The Versace glamazons were also on exposition, showing their strength in numbers strutting two by two and three by three, attrition fringed miniskirts and draped bandeau column dresses stoppered off with sunglasses and headscarves.

On the runway at Versace’s autumn/winter portray. Photograph: Tony Gentile/Reuters

As for moving it forward, Versace is apparently no stranger to the power of millennial consumers and what they pine for – as the show notes acutely observed: “The insta moment is the whole kit.” Versace ticked this box today with trainers (to choose “the sneaker geeks”), football scarves, logoed sweaters and T-shirts (appreciate last season) and all-over plaid skirt suits that tapped into the insatiable desire for 1990s nostalgia.

As with the September show, the thread of brood was a strong one. Included in the collection was a plaid named after the outstanding Versace family, which was a tribute to kinship. The brand is verbalized still to be looking for a designer to join this family. Latest Givenchy creative director Riccardo Tisci was thought to be a shoo-in, with an pronouncement said only to be delayed by a stringent non-compete clause in his whilom contract. However, talks were said to have disjointed down last summer and all has been quiet on that fore since.

Whoever it is will have a tough remit to carry off. The brand experienced a loss of €7.4m at the end of 2016, compared with to a profit of €15.3m in 2015. The contrast, however, didn’t seem to faze the company, which credited it to heavy investments and reorganisation.

The CEO, Jonathan Ackeroyd, who joined in 2016, is significant to this restructure. Having overseen the international expansion of British label Alexander McQueen for 12 years between 2004 and 2016, he is credited by Versace with being “a vivid and savvy brand-builder”.