Giorgio Armani’s final fashion statement unfolded on Sunday evening at Milan’s prestigious 18th-century Pinacoteca di Brera, where a reverent crowd gathered to honor his legacy.
The event drew an array of stars, including Richard Gere, who famously sported Armani in “American Gigolo,” alongside his co-star Lauren Hutton, both dressed impeccably in Armani. Glenn Close, a long-time admirer who acquired her first Armani jacket in 1983, was also present, as was Cate Blanchett, a prominent ambassador for the brand. Directors Spike Lee and Samuel L. Jackson attended, both in elegant midnight blue, while designers Dries Van Noten traveled from Venice and Santo Versace joined from nearby.
This gathering was originally conceived by Mr. Armani as the pinnacle celebration of his 50-year career: a grand runway show paired with a career retrospective, featuring exquisite pieces from his personal foundation’s archive. A spokesperson revealed that he meticulously planned every detail for months, from the specific shade of champagne to the 550 lanterns illuminating the courtyard and the carefully selected models. Many of these models would recreate his iconic two-by-two runway walk, with some notable women who had graced his shows throughout the decades making special appearances.
However, Mr. Armani’s passing on September 4th at the age of 91 transformed the anticipated celebration into a poignant, elegiac tribute. It felt remarkably fitting, given that he was a man who aspired to design every aspect of his world, even, it seemed, his own legacy.
This dual event – the runway show and retrospective – served as an insightful guide to the very essence of Armani’s brand, embodying above all else a sense of effortless ease, serene elegance, and an unwavering commitment to his ideals.
While the collection featured around 125 fresh designs for both men and women, and the ‘Milano, Per Amore’ exhibition upstairs showcased 133 archival outfits spanning five decades, the most striking observation was their remarkable consistency over time.
It was nearly impossible to distinguish a suit from 1993 from one from 2011, or even from a piece presented on the current colonnaded runway. His signature jackets, whether long and lean or sharply tailored at the waist, were consistently paired with flowing, full trousers and open-weave sweaters, all in his characteristic palette of sand, navy, and greige. A pervasive sense of relaxed confidence permeated every design, irrespective of its surface embellishments.
While the collection culminated with breathtaking emerald and sapphire gowns, delicately suspended from 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 of the show remained his iconic suits. This was evident both on the runway and in the museum’s galleries, amidst its priceless Renaissance frescoes and religious masterpieces.
This approach marked a significant departure from his previous major retrospective: the much-debated 2000 Guggenheim exhibition, which, following a substantial donation from Mr. Armani to the museum, sparked accusations of ‘buying legitimacy.’ That exhibition featured less than a quarter suits, instead highlighting his more elaborate red carpet creations, seemingly to demonstrate his versatility beyond simply outfitting executives and to challenge the narrow perception of his success.
In contrast, this latest presentation emphasized suiting, with notable exceptions like a striking bright red strapless ball gown (complete with a matching hat) displayed in an alcove, and a shimmering midnight blue satin skirt paired with a sheer knit, positioned centrally amidst a gallery of Madonna oil paintings.
It appeared as if Mr. Armani was, even posthumously, acknowledging that while his sparkling gowns were undeniably beautiful, they couldn’t rival the transformative cultural impact of his deceptively simple soft jackets. These were the designs that revolutionized how people dressed and continue to inspire designers today. It is these very jackets, by changing our perception of clothes and the body, that earned their rightful place among history’s great artworks.
Against a backdrop of masterpieces by Bellini, Mantegna, and Tintoretto, and beneath a majestic Canova marble sculpture, these iconic garments formed the concluding statement of a Milan Fashion Week that itself symbolized a significant generational transition. They rested there, elegantly, in profound peace.