Dario Vitale Stepping Down from Role at Versace After Less Than Nine Months
When Dario Vitale showed his first Versace collection in September, the brand appeared poised for an unexpected yet promising evolution. After nearly three decades under Donatella Versace’s leadership, Vitale’s arrival suggested a generational shift—one that embraced bold, ’80s-inspired references while subtly reframing them through a modern lens. Early reception was optimistic, with GQ’s Samuel Hine notably asking, “Am I a Versace Guy Now?” in his glowing review. Yet only months later, that momentum was abruptly halted. Following Versace’s acquisition by the Prada Group, Vitale stepped down from his role, despite officially joining the house in April, just one month after Donatella Versace’s departure. At 70, Donatella left behind a powerful legacy shaped by decades of fearlessness, glamour, and unapologetic excess, having guided the brand since the death of her brother, founder Gianni Versace, in 1997. Vitale’s appointment marked the end of a defining era; as only the third creative director since Versace’s founding in 1978, his presence symbolized both risk and renewal.
Fashion history, however, suggests that immediate judgment is rarely kind to designers who challenge established house codes. Vitale’s situation echoes past moments when now-celebrated designers faced rejection or confusion at the time of their debut. Yves Saint Laurent’s controversial collections at Dior in the 1960s were initially seen as too youthful and rebellious, yet they would later redefine modern elegance. Similarly, Raf Simons’ early work at Dior, once criticized for its restraint and minimalism, is now viewed as a critical turning point in the house’s contemporary identity. More recently, Phoebe Philo’s early collections at Céline received mixed reactions before becoming some of the most influential works of the 21st century. In each case, innovation required distance and time for its value to fully register. Vitale, coming from 15 years at Miu Miu as design and image director, brought with him a sensitivity to youth culture and experimentation that may have clashed with expectations of immediate commercial clarity.
The greatest disappointment lies in the fact that Vitale’s first Versace collection has yet to reach stores, and under new ownership, may never be released at all. Without the opportunity for refinement, continuation, or reflection, his vision risks being frozen as a footnote rather than evaluated as a fully formed chapter. As history has shown, some of fashion’s most meaningful contributions are only understood long after their moment has passed raising the possibility that Vitale’s brief tenure may one day be viewed not as a failure, but as a missed opportunity.
