For 50 years, Giorgio Armani has only ever wanted “to dress real men, not an invented character who only exists on the runway”.
Speaking before launching his autumn collection in Milan, this may have sounded a strange thing to say before a fashion show, but it does explain why the Italian designer has rarely deviated from the look on which he has made his fortune.
If other brands are driven by changing markets, celebrity fashion and the need for memes, Armani just follows his customers. “Italian fashion today is difficult to define as a formula for style,” he said. “It is more a way of doing things.”
Still, how long this continues is up in the air. The king of Milanese fashion and sole shareholder of a company recently valued by Forbes at $13bn (£10bn) has confirmed he will retire soon.
“At 91, age is undoubtedly a factor to contend with,” he said. “I will continue as long as my health and energy permit, but taking a step back in the near future is inevitable.” Yet he still has no heir to his throne.
Armani is the designer who transformed stiff suiting and brought Italian style to Hollywood. And on Monday’s catwalk, this was no different. Broad-shouldered jackets – his calling card now and then – came with just enough construction to create shape. Wool and velvet trousers were flattering but baggy enough not to constrict. Bags were cavernous, and so were trouser pleats. As ever, the waists were low. On the front row sat the actors Adrien Brody and Joe Alwyn, both presumably hunting down their Oscars outfits.
Milanese fashion is not known for its body diversity, but the Armani fit – structured, loose – has the effect of addressing body image in the collection. It helps too that many of the models are in their 30s and 40s.
Further proof that he has an eye on TikTok, some of the more prevailing trends were dotted throughout: snoods, tiny beanies, pull on trainers and capacious leather tote bags. All stuff people want to wear, if they can afford it.
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Once nicknamed Signor Beige for his loyalty to the shade, there were greens and deep reds mixed in with the usual navies and greys. Armani understands colour – that blue makes the wearer look taller and taupe needs height to pull it off. However “real” his ideal customer is, the ski-wear segment suggests he also knows they know their way around Aspen.
Unlike most designers, Armani made menswear before womenswear, essentially making men’s jackets in smaller sizes. This was not womenswear – but there were women. In a throwback to the late 1970s, one look in particular was ripped directly from the Annie Hall playbook. Diane Keaton wore Ralph Lauren in the film, but she won the Oscar wearing an Armani jacket.
