As with most attempts to revisit the not too distant fashion past, it was always going to be near impossible to recreate the youthful brio and technical precision that lifted up his clothes from this era. The talented costume designer Lou Eyrich had the unenviable task of recreating Versace’s painstakingly crafted outfits for American Crime Story, with no access to the label’s archives and next to no time, and it shows. Look at the tropical prints and shout-outs to Miami that began to appear in his collections and in South Beach Stories, a coffee-table valentine to Miami that Gianni and Donatella produced with Bloomingdale’s Kal Ruttenstein: Versace was clearly smitten with his adopted city. And perhaps unwittingly, it’s also an ode to a golden moment in Miami‘s history-before social media, table service, and paid influencers took over South Beach.
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As much as the series is an investigation into the pathology of a deranged young man, The Assassination of Gianni Versace is also a respectful if grisly memorial to a brilliant fashion impresario and media visionary. It’s perfectly understandable that the Versaces would be protective of their beloved Gianni, but if anything the series is at times too deferential to his legacy, like a fawning fashion editor proffering plaudits backstage at a Versace show. Among the sticking points are the suggestions that Versace and Cunanan had previously met in San Francisco and that Versace was HIV-positive at the time of his death, both of which the series recreates in detail over the course of the season.
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History, the nine-part series comes with a stellar cast-Édgar Ramírez as Versace, Darren Criss as Cunanan, Penélope Cruz as Donatella Versace, and Ricky Martin as Gianni’s longtime boyfriend, Antonio D’Amico-and a built-in controversy, with the Versace family publicly attacking the veracity of the show’s version of events.
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Based on Maureen Orth’s 1999 book Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S.