One Night Only: Inside Giorgio Armani’s Expo 2020 Show in Dubai

And yet the context of this collection served to refurbish the clothes as they collided with the eye. In the shadow of the Burj, and backdropped by a series of indifferently designed yet grandiosely sized skyscrapers all around us, this mishmash of a selection seemed constructed with that greatest of creative criterions:. Or as Jacobs said of the menswear afterwards: “There is definitely an architecture in the clothes that makes you feel good and look good; it’s a beautiful thing.

The foundation of the show, as with all things Giorgio Armani, was in menswear. An opening salvo of blue jacket-meets-white pant Armani Riviera chic followed by supplely liquid velvet deconstructed workwear in black with whimsical knotted accessories were both beautiful. After a day at the Expo, the precision of the work, which after all has been honed for nearly half a century, was properly palate-cleansing.

Armani’s womenswear is often more obtuse—especially the womenswear he chooses to put on the runway. Here, however, there was a freshness and lightness to the sampled sections plucked from mainline Giorgio Armani, and in this jarringly saccharine context the pieces worked better than they do in Milan. The real revelation, however, was the couture saved for a closing all-female second section of the show.

Back at the Expo, I am sad to report that the Italian Pavilion, although quite impressive from the outside, had no tangibly coherent purpose within. This show, the latest result of almost 50 years of work by one one of Italy’s greatest creators, arguably served as a better advert for Italian excellence around the world. These were clothes you’d love to live in.

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