The final creative statement from the legendary Giorgio Armani unfolded Sunday evening within the exquisite 18th-century halls of Milan’s Pinacoteca di Brera, an event transformed into a moving homage before an assembly of his devoted admirers.
Among the illustrious guests were Richard Gere, the actor whose career was famously intertwined with Armani’s designs through ‘American Gigolo,’ present in a bespoke Armani tux alongside his co-star Lauren Hutton. Glenn Close, a long-time admirer who purchased her first Armani jacket in 1983, and house ambassador Cate Blanchett also attended. Filmmaker Spike Lee and actor Samuel L. Jackson graced the event in matching midnight blue, while fellow designers Dries Van Noten and Santo Versace traveled to pay their respects.
Originally conceived as a grand celebration of his fifty-year journey in fashion, the event featured both a dazzling runway show and the unveiling of a comprehensive retrospective sourced from his foundation’s archives. A spokesperson revealed that Armani himself meticulously planned every detail for months, from the Champagne’s hue and the 550 lanterns illuminating the courtyard to the precise model lineup, which notably included women who had graced his catwalks throughout his legendary career, many in his iconic two-by-two strut.
However, Mr. Armani’s passing on September 4th at the age of 91 transformed this planned celebration into a deeply moving and elegiac tribute. It was, in a way, profoundly fitting: a man who dreamed of designing every aspect of his world ultimately crafted his own lasting legacy.
Indeed, the dual event—a runway show coupled with a retrospective—served as a concise yet powerful testament to the enduring essence of Armani: a vision built on ease, serenity, and the strength of an unyielding aesthetic ideal.
Remarkably, despite showcasing around 125 new looks for both men and women on the runway, and 133 archival pieces spanning five decades in the “Milano, Per Amore” exhibition upstairs, the collections shared an astonishing visual continuity.
Distinguishing a suit from 1993 from one unveiled in 2011, or even from a piece gracing the modern runway, proved nearly impossible. The jackets consistently featured either a long, sleek silhouette or a sharp, squared-off waist. Trousers flowed with a graceful fullness, sweaters boasted an airy, open weave, and the palette explored a sophisticated spectrum of sand, navy, and ‘greige.’ A profound sense of understated confidence permeated every ensemble, whether intricately embellished or exquisitely minimalist.
While the collection concluded with dazzling emerald and sapphire gowns, delicately suspended by filigree straps, and a final model resembling a blue angel in a simple long-sleeve gown adorned with a beaded portrait of Mr. Armani in a tuxedo, the true stars remained the suits. These tailored masterpieces held their own amongst the Renaissance frescos and profound religious artworks displayed upstairs in the museum.
This presentation marked a distinct departure from his previous major retrospective: the much-debated 2000 Guggenheim exhibition, which later toured globally. That show drew controversy due to a substantial gift from Armani to the museum, leading to accusations of attempting to buy artistic legitimacy. In contrast, less than a quarter of that exhibition’s displays focused on suits, instead highlighting his more elaborate red carpet creations—perhaps an attempt to transcend his image as merely a corporate clothier.
However, for this final tribute, the emphasis clearly shifted. With the exception of a striking bright red strapless ball gown (complete with a matching hat) showcased in an alcove, and a flowing midnight blue satin skirt paired with a delicate sheer knit amidst a gallery of Madonna paintings, suiting dominated the exhibits.
It seemed as though Mr. Armani, even posthumously, affirmed that while his glittering gowns were undeniably beautiful, they couldn’t match the profound cultural and fashion impact of his deceptively simple soft jackets. These were the garments that redefined how people dressed and continue to inspire designers today. It is these very jackets that have secured their place among history’s great artworks, for they fundamentally reshaped our perception of clothing and the human form.
Amidst masterpieces by Bellini, Mantegna, and Tintoretto, beneath a majestic Canova marble sculpture, and as Milan Fashion Week concluded with a clear generational shift, Armani’s creations rested elegantly, finding their eternal peace.