In a deeply moving evening held at Milan’s magnificent 18th-century Pinacoteca di Brera, the fashion world witnessed Giorgio Armani’s final creative statement, a posthumous testament to his enduring vision. A distinguished crowd gathered to honor the designer’s extraordinary career.
The guest list read like a who’s who of Hollywood and high fashion. Richard Gere, whose iconic role in ‘American Gigolo’ was synonymous with Armani’s sleek designs, attended in a signature tux, joined by co-star Lauren Hutton. Glenn Close, a long-time admirer who purchased her first Armani jacket in 1983, and house ambassador Cate Blanchett were also present. Film director Spike Lee and actor Samuel L. Jackson sported elegant midnight blue ensembles, while fellow designers Dries Van Noten and Santo Versace paid their respects.
Guests arrived for what was originally conceived as the grandest celebration of Armani’s half-century in fashion: a spectacular runway show combined with the launch of a career-spanning retrospective drawn from his personal archives. According to a spokeswoman, Armani meticulously planned every detail for months, from the precise shade of Champagne and the arrangement of 550 lanterns illuminating the courtyard, to the carefully curated lineup of models, many of whom were veterans who had graced his catwalks throughout the years, all showcasing his iconic two-by-two strut.
However, Mr. Armani’s passing on September 4th at 91 years old transformed this grand celebration into something more profound: an elegiac tribute rather than a somber occasion. In a way, it was perfectly fitting for a man who aspired to design every aspect of his world, allowing him to shape his own enduring legacy.
The joint runway show and retrospective served as an eloquent summary of all things Armani: a masterclass in effortless style, serene aesthetics, and the unwavering strength of his creative principles.
The remarkable consistency across five decades was striking; despite featuring 125 new looks for both men and women on the runway and 133 archival pieces in the ‘Milano, Per Amore’ exhibition, the styles maintained an astonishing visual harmony.
Distinguishing a suit from 1993 from one in 2011 or a piece from the current collection on the colonnaded runway proved nearly impossible. Armani’s signature silhouettes were ever-present: long, lean jackets or those neatly tailored at the waist, trousers with fluid movement, open-weave sweaters, and a palette of natural hues like sand, navy, and greige. An inherent, unpretentious confidence permeated every design, regardless of its embellishment.
While the collection culminated in dazzling emerald and sapphire gowns, and a serene final model graced the runway in a simple, long-sleeved dress adorned with a beaded tuxedoed portrait of Mr. Armani, it was truly the impeccably tailored suits that stole the show. Their presence felt equally at home among the museum’s Renaissance masterpieces and religious art upstairs.
This emphasis on suiting marked a significant departure from his previous major retrospective: the controversial 2000 Guggenheim exhibition. That earlier show, which sparked accusations of ‘buying legitimacy’ due to a substantial donation from Mr. Armani to the museum, featured less than a quarter suits. Instead, it highlighted his more extravagant red carpet creations, seemingly to demonstrate his versatility beyond corporate wear.
In contrast, this farewell presentation predominantly featured suiting, with only a few exceptions: a striking bright red strapless ball gown with a matching hat in an alcove, and a flowing midnight blue satin skirt paired with a delicate sheer knit, both carefully placed amidst the gallery’s Madonna oil paintings.
It appeared Mr. Armani, even in death, acknowledged that while his glittering gowns were undeniably beautiful, it was his deceptively simple yet transformative soft jackets that truly redefined fashion and culture. These iconic jackets, which revolutionized how people dressed and continue to inspire designers today, secured their place as historical artworks for shifting our perception of both clothing and the human form.
Amidst the masterpieces of Bellini, Mantegna, and Tintoretto, and beneath a monumental Canova marble sculpture, Armani’s creations stood elegantly, marking a peaceful conclusion to a Milan Fashion Week that symbolized a broader generational transition in the industry.