At a certain point Versace’s rococo ambitions would cede to the shifting mood of the ’90s, parlaying his outlandish style into something sleeker, cleaner, and just us titillating. Versace was always an ingenious cutter, even if the years of tromp l’oeil prints and gem embellishments obscured that, and so the shift would only open up another realm of discovery. Most notable is the finale of safety-pin dresses, one most famously worn by Elizabeth Hurley — nothing more scandalous, suggestive, and yet minimal than a dress barely pinned at the seams. Also noteworthy is the young Kate Moss opening the show; a total contradiction of the Amazonian Versace woman, literally pale in comparison to a Naomi Campbell or Veronica Web, she would represent a new ideal for the next decade and then some. The lack of irony and cynicism is remarkable, it’s totally optimistic and speaks as much to the era’s unique outlook in a transitional moment as it does to Gianni’s relentless search for classical romance and celebration of life. There is an undeniable confidence, both sexually and artistically, and an assured sense of joyousness. If it seems vaguely banal today, or even trite, it was only just as fresh and inspiring in 1994.