Giorgio Armani established the manifesto of his show with back-projections of the legendarily stylish director Luchino Visconti and poet Gabriele d’Annunzio. Other times, other places, but they’ve meant the world to Armani throughout his career, and it was easy to see their influence in this new collection (if not in specific details, at least in the general ambience of indulgence and sensuality). Velvet carried over as a favorite fabric -soft, liquid, shimmering, it’s an ideal vehicle for Armani’s signature (de)construction. Suits in shades of bitter chocolate or midnight-blue velvet were quintessentially glamorous, but Armani also offered mandarin-collared velvet shirts. D’Annunzio would surely have lounged in something similar while he puffed away on his opium pipe.
By now, you know the deal with Armani's interests. It's as if the man is incapable of designing a collection that is anything other than original, smart, compelling, witty and trendsetting -and all this after decades in the business. In his latest salvo, he seems to be suggesting that the most popular concepts for the season are gloriously flamboyant leather and velvet jackets, jeans that have the iconic feel of a fashion Mount Rushmore about them and 3-piece suits that are about as close to definitive as can be imagined. A triumphant and highly accomplished show by a leading pioneer in this industry.
By now, you know the deal with Armani's interests. It's as if the man is incapable of designing a collection that is anything other than original, smart, compelling, witty and trendsetting -and all this after decades in the business. In his latest salvo, he seems to be suggesting that the most popular concepts for the season are gloriously flamboyant leather and velvet jackets, jeans that have the iconic feel of a fashion Mount Rushmore about them and 3-piece suits that are about as close to definitive as can be imagined. A triumphant and highly accomplished show by a leading pioneer in this industry.
