“Discover the underwater world of Versacepolis! A utopian settlement on the seabed ruled by Medusa with principles of empowerment, strength and beauty.” Fresh from a spot of kayaking in Sardinia, a bronzed, buff, ebullient Donatella Versace invited everyone to dive in and enjoy the new Versace collection, streamed live from Milan.

The aquatic theme proved thoroughly entertaining as Donatella enlisted a golden digital octopus named Churro to garner pre-show buzz on Instagram (check out the feed: he’s strangely mesmerising) and a shoal of real-life supers to strut their stuff in fabulously glitzy gowns that put the horsepower back into Milan Fashion Week. After all, as Versace told British Vogue in an interview in the September issue, “Nobody needs a lot right now. But, don’t forget the glamour, the supermodels, the hair and make-up!” Here, everything you need to know about the spring/summer 2021 Versace show.

The theme is best summed up as underwater escapism

The show set comprised a sandy sea-bed catwalk bathed in blue light, with fallen columns, decaying arches and the remains of an underwater city providing seating for a handful of employees (Donatella, waxing lyrical about her team, felt it was appropriate to hold the show behind closed doors and to “gift a beautiful experience to all the amazing people who worked so hard to make it happen” rather than inviting press, buyers and influencers). The first look out was reminiscent of something you might wear if you had spent lockdown on the coast taking business calls between surfing sessions: a pin-striped navy blazer paired with a rash top and shorts, given the signature Versace pizzazz via a pair of stonking patent platforms. Asked what the collection meant to her, Versace responded: “Dreaming of another world and escapism. The two concepts are related, but while we dream of a world that is a better place for everyone, we need to start building it. I also wanted to dream and that is the reason why the collection is so full of colours and has such an upbeat soul.”

The Nineties called, it wants its starfish back

Next up: splashy coral, seahorse and tropical fish prints, and a whole load of rhinestone starfish. Reminiscent of the “Trésor de la Mer” prints that appeared on the spring/summer 1992 catwalk, Donatella also referenced that collection, designed by her late brother Gianni, and modelled by Linda Evangelista, Naomi Campbell, Claudia Schiffer, Helena Christensen et al, in the bejewelled clam-shell bodices of the mini dresses. “Fashion is no longer about day and night,” Gianni explained to Vogue at the time. “It’s about how you feel, what you are, and how you express yourself. Today women have the confidence to mix extreme opposites.”

There were endless looks designed to help you “come out of your shell”

Few designers in Milan have as acute a sense of the absurd combined with a gift for humour as Donatella. The aquatic puns kept coming on Versace’s Instagram account with instructions for fashion fans to “come out of your shell” – and you just know she was behind them. Case in point: ruffles as the ultimate tool of female empowerment. One look at Joan Smalls scowling like a siren in a knitted fuchsia top and a cascading ruffle skirt, or indeed Irina Shayk in a satin, starfish-embroidered gown, and we’re sold.

The swimwear came with a sustainable caveat

Photographed in her office for the September issue, Donatella told Vogue that lockdown had steeled her resolve to make “everything sustainable… that’s my next war.” Accordingly, the host of fabulously outré swimwear on the spring catwalks looks featured organic fibres, recycled polyester and polymide, with jerseys and piquet fabric made from organic cotton. Don’t forget the final touch: those cowrie shell necklaces your ’90s boy band crush used to wear.