There are three reasons why this Emporio Armani show was an especially big deal. Reason one: it saw Giorgio Armani take his first post-show bow at his south side of Milan showspace since January 2020, for fall menswear, before he became the first fashion designer to sense the threat of Covid and close his doors. Reason two was that alongside him for this bow was Silvana, his niece: Mr.
From Roberto Mancini posing with the Italian national football squad to the 80 seasons of campaigns that have dominated Corso Garibaldi and billboards across the world, the filmed montage that preceded the show reminded the spaced-out audience of Emporio’s evergreen appeal. The collection that followed showed why. Covering both womenswear and menswear, it traversed the key Armanian territory of androgynous tailoring, threw in a liberal scattering of his eccentrico styling , diverted via some non-specific but definitely non-Italian references in silhouette and watercolor-esque patterning, and returned periodically to versions of an ingeniously engineered triple-hemmed party dress.
As ever, there were more looks than photos on Vogue Runway because Armani sent out his models in clusters, the larger groupings serving to emphasize the specific fashion chapter of the broader narrative he was charting. My favourite transition was from a menswear section featuring some typically gorgeous jackets teamed with palm-printed ties that were worn above slides.
It all, though, looked purely Armani. This was a show that demonstrated how constant reinvention within the parameters of constant design values creates a formula through which a label can remain forever young.
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