ROME (AP) — Italy’s fashion house Armani said on Friday that it has appointed a new board whose role will be to guide the company at a time of transition following the death of its founder Giorgio Armani earlier this year.
The new board consists of eight members selected by the Armani Foundation and the designer’s heirs, including former Armani top executive John Hooks and former Gucci CEO Marco Bizzarri.
The other board members are Chairman Leo Dell’Orco; CEO and managing director Giuseppe Marsocci; Armani’s niece Silvana and his nephew Andrea Camerana; Yoox founder Federico Marchetti and businessman Angelo Moratti.
Following Armani’s death at 91 in September, the group appointed long-time manager Marsocci as the new CEO. Marsocci and the new board take the lead at a crucial time for the fashion empire, one of the most valuable and best-known companies in the country.
Armani instructed his heirs to sell an initial 15% minority stake in his vast fashion business within 18 months after his death, with preference given to the eyewear giant Essilor-Luxottica, the French conglomerate LVMH or the cosmetics company L’Oreal.
Dell’Orco said Friday the composition of the new board “represents the best guarantee for the continuation, enhancement, and modernization of the idea of beauty, the business model, and the ethical values developed by Mr. Armani over 50 years of history.”
Clever, elegant, and cautious, Giorgio Armani arranged for the muse-turned-activist to meet his architect. Three years later, on Boulevard Saint-Germain, he unveiled his Armani Casa boutique, offering Japanese lanterns in Murano glass, boxes covered in shagreen, furniture in iroko wood, or upholstered in parchment. His businesses are still there, and the Michelin-starred restaurant bearing his name is now one of the best Italian restaurants in Paris.
It has to be said that the couturier-entrepreneur, the first to launch into the lifestyle spaces that all his competitors eventually emulated, sensed the moods of the city since he first got to know it.
“In the 1970s and early 1980s, haute couture was in decline,” he said. “Those of us who worked in ready-to-wear were resolutely opposed to it. But I remember some breathtaking Saint Laurent shows that left a lasting impression on me, and the wonders that Karl Lagerfeld did at Chanel. And, although far removed from my own aesthetic, I admired the talent and creativity of Christian Lacroix at Patou. It’s thanks to these designers that haute couture has regained its place,” he told us at the time. And when he himself launched himself into this highly codified and magical discipline at the dawn of the new millennium, it was of course in Paris that he decided to show his work.
He swore: “I didn’t decide to go into haute couture on a whim. I had an established, demanding clientele, and many women were asking me for more exclusive, personalized pieces. The next logical step was to create a collection.”
Paris opened its arms to him, though the relationship between Armani and the city had its occasional friction over half a century, such as the 1998 fashion show at Place Saint-Sulpice, to which the 1,500 guests were denied access for “security reasons.” La Reppublica thundered “Paris ‘expels’ Italy,” and Le Monde wrote of “the affront to Giorgio Armani.” The couturier took his revenge in a series of interview in the media, but it did nothing, in the end, to dent his love affair with the capital, where his couture is showcased in the most important addresses on both shores. “I’ve had the privilege of exhibiting my creations in exceptional places, from the Italian Embassy to the Petit Palais.”
Details of the will of late fashion designer Giorgio Armani have been revealed which set out plans for the succession of his company, Reuters reports.
The will instructs heirs to sell a 15% stake in the Italian fashion house within 18 months and later transfer an additional stake to the same buyer between three and five years after his death, or pursue an initial public offering, the news agency said, citing the will.
Newsweek contacted the Armani Group by email seeking comment.
Why It Matters
According to Forbes, Armani had a net worth of $12.1 billion. At the cornerstone of his wealth is the Giorgio Armani fashion empire, which was founded in 1975. Before his death, he was both the CEO and sole shareholder of the company.
Shortly before his death, Armani outlined the succession plan of his business during an interview with the Financial Times. He told the outlet, “My plans for succession consist of a gradual transition of the responsibilities that I have always handled to those closest to me … such as Leo Dell’Orco, the members of my family, and the entire working team.”
Italian fashion designer Giorgio Armani acknowledges applause during the presentation of Emporio Armani’s Fall-Winter 2023-2024 Women’s collection on February 23, 2023 during the Fashion Week in Milan. Italian fashion designer Giorgio Armani acknowledges applause during the presentation of Emporio Armani’s Fall-Winter 2023-2024 Women’s collection on February 23, 2023 during the Fashion Week in Milan. Marco BERTORELLO/Getty Images
What To Know
Armani, a visionary designer who transformed global fashion with his understated elegance and business savvy, died on September 4, at the age of 91, his company said.
Armani, who was very private about his personal life, had no children. The Armani business, which generates more than 2.3 billion euros ($2.7 billion) a year, had expanded into music, sport, and Italian luxury hotels. He was the owner of the Italian basketball club Olimpia Milano, had investments in luxury hotels, real estate holdings, and was the owner of a 200-foot yacht.
Armani noted in the interview with the Financial Times that he wanted his succession to be “organic,” and “not a moment of rupture.”
Reuters reported that the will stipulates that a 15 percent stake should be transferred within 18 months and then an additional 30 percent to 54.9 percent should be transferred to the same buyer between three and five years after his death.
Alternatively, an initial public offering should be pursued, Reuters reported, citing the will.
The will also states that priority should be given to luxury giant LVMH, L’Oreal, EssilorLuxottica or other groups, Reuters reported, adding that heirs should consider other fashion and luxury companies with which Armani’s company has commercial ties for a sale.
As Armani left behind no children to inherit the business, there had long been speculation about what the future of the Armani empire would look like after his passing. Back in 2016, Armani held a meeting to outline what would happen following his death, establishing new statutes for the group and dictating the principles that would define the future of the company.
Beyond his family, his heirs will include his long-term collaborator and right-hand man, Pantaelo Dell’Orco, and a foundation. This foundation was established in 2016 and plays a significant role in the preservation of Armani’s legacy, following a model adopted by the luxury watchmaker Rolex. It is designed to protect the company.
Dell’Orco has worked alongside Armani for over four decades and is currently the Armani Group’s head of men’s style.
All of these people are part of the company’s board of directors, and, under the leadership of Armani’s sister Rosanna, have long been involved in the company’s team.
Trigger Warning: This article contains mention of death.
Legendary fashion icon Giorgio Armani has passed away at the age of 91. The late designer was responsible for bringing in a revolution in the fashion industry and went on to become the archetype of the Italian style and elegance.
The unfortunate news was confirmed by the fashion house, which claimed that Armani was surrounded by his loved ones at his home when he breathed his last.
The designer was known to be the pioneer of the fashion industry, changing the course of the red carpet. Armani was also a dedicated man who worked till the final days.
As the news of the veteran fashion star’s death began to circulate on the internet, industry stars paid their heartfelt tributes.
Tributes pour in for Giorgio Armani
Giorgio Armani was born in 1937 and hailed from Milan. The fashion icon was adored by celebrities across industries, and hence, the tributes have been pouring in for the late Italian man. Russell Crowe went on to describe Armani as someone who “made a mark acknowledged around the globe.”
Additionally, the Italian Prime Minister, Giorgia Meloni, also paid a heartfelt tribute to Armani. Taking to her social platform, the political personality stated, “With his elegance, sobriety, and creativity, he was able to bring lustre to Italian fashion and inspire the entire world.” She added, “An icon, a tireless worker, a symbol of the best of Italy. Thank you for everything.”
Armani had close connections with the celebrities in the film industry. The fashion icon power-dressed and styled actresses like Julia Roberts, Zendaya, and Cate Blanchett. Moreover, the late designer also styled outfits for Lady Gaga and for movies like The Wolf of Wall Street and American Gigolo.
As for one of his final projects, Giorgio Armani directed the couture show in Paris in 2025. Moreover, the fashion star has won the French Legion of Honour and the Italian Order of Merit for Labour for his work in styling and designing.
Utilizing the red carpet as a powerful tool to showcase his designs, a series of indelible looks would cement his status as a fashion powerhouse. At the 50th Academy Awards in 1978, Diane Keaton made history as the first person to wear Armani on the red carpet. She wore an Armani ensemble that featured a tailored double-breasted jacket, and won the Oscar for Best Actress in a Leading Role for Annie Hall.
Then, in 1990, Julia Roberts immortalized herself in fashion history when she wore an off-the-rack men’s Armani suit to the Golden Globes, putting a playful spin on women in menswear. “This was one of my all-time favorite outfits,” Roberts told Vogue last year. “I didn’t even know that people wore really fancy gowns to the Golden Globes the way they do now. I could not have known that it was going to become this, like, statement outfit. I just thought I looked fabulous, and I still have that suit.”
From suiting to gowns, revisit some of Mr. Armani’s most unforgettable red carpet looks below:
Giorgio Armani, a stalwart of Milan ready-to-wear who revolutionized fashion with unstructured looks, died Thursday at the age of 91, his fashion house confirmed.
Armani died at home, the fashion house said. The fashion designer failed to appear at his runway shows in June as he was recovering from an undisclosed illness. He was planning a major event to celebrate 50 years of his signature Giorgio Armani fashion house during Milan Fashion Week this month.
Starting with an unlined jacket, a simple pair of pants and an urban palette, Armani put Italian ready-to-wear style on the international fashion map in the late 1970s, creating an instantly recognizable relaxed silhouette that has propelled the fashion house for half a century.
From the executive office to the Hollywood screen, Armani dressed the rich and famous in classic tailored styles, fashioned in super-soft fabrics and muted tones. His handsome black tie outfits and glittering evening gowns often stole the show on award season red carpets.
Story continues below advertisement
At the time of his death, Armani had put together an empire worth over $10 billion, which along with clothing included accessories, home furnishings, perfumes, cosmetics, books, flowers and even chocolates, ranking him in the world’s top 200 billionaires, according to Forbes.
The designer also owned several bars, clubs, restaurants and his own basketball team EA7 Emporio Armani Milan, better known as Olympia Milano. Armani opened more than than 20 restaurants from Milan to Tokyo since 1998, and two hotels, one in Dubai in 2009 and another in Milan, in 2010.
Armani himself was the foundation of his style
Armani style began with Giorgio Armani himself, from the penetrating blue eyes framed in a permanent tan and early-age shock of silver hair, to the trademark jeans and t-shirt work clothes and the minimalist decoration of his private homes.
Armani’s fashion vision was that of easygoing elegance where attention to detail made the difference.
“I design for real people. There is no virtue whatsoever in creating clothes and accessories that are not practical,” he liked to say when asked to identify his clientele.
Get daily National news
Get the day’s top news, political, economic, and current affairs headlines, delivered to your inbox once a day.
In conversation, the designer’s disarming smile and exquisitely mild manners belied the tough businessman underneath, who was able to turn creative talent into a fashion empire worth over $10 billion. Never a merger nor a sale, Re Giorgio (King George) as the Italians call him, was always his own boss.
Story continues below advertisement
Born July 11, 1934, in Piacenza, a small town south of Milan, Armani dreamed of becoming a doctor before a part-time job as a window decorator in a Milan department store opened his eyes to the world of fashion.
In 1975, Armani and his partner Sergio Galeotti sold their Volkswagen for $10,000 to start up their own menswear ready-to-wear label. Womenswear followed a year later.
The symbol of his new style was the liningless sports jacket, which was launched in the late 1970s and became an instant success from Hollywood to Wall Street. The designer paired the jacket with a simple t-shirt, an item of clothing he termed “the alpha and omega of the fashion alphabet.”
The Armani suit soon became a must in the closet of the well-heeled man. And for women, the introduction of the pantsuit in the executive workroom was all but revolutionary. Dubbed the “power suit” with its shoulder-padded jacket and man-tailored trousers, it became the trademark of the rising class of businesswomen in the 1980s.
Over the years Armani would soften the look with delicate detailing, luxurious fabrics and brighter shades for his basic beige and gray palette. His insistence on pants and jackets led some critics to label his fashion “androgynous.”
Armani hits Hollywood
The 1980 film classic American Gigolo launched both Armani and actor Richard Gere on their Hollywood careers. Dressed in Armani, Gere became America’s new favourite heart throb, and “Geeorgeeo” as they called him, the glam set’s most popular designer.
Story continues below advertisement
The Hollywood connection earned him wardrobe film credits in over 200 films, and in 2003 a place on Rodeo Drive’s “Walk of Fame.”
Oscar night always sparkled, with smart suiting for the men, and glittering gowns for the ladies. The 2009 best actor winner Sean Penn picked up his statue in a black-on-black Armani outfit, while best actress nominee Anne Hathaway walked the red carpet in a shimmering white strapless evening gown from Armani’s latest Prive couture collection.
So significant was the impact of Armani style, not only on how people dressed but how they approached fashion, that in 2000 New York’s Guggenheim museum presented a retrospective of Armani’s first 25 years in fashion.
“I love things that age well, things that don’t date and become living examples of the absolute best,” Armani said of his efforts.
Armani has gone well beyond fashion
Today, the Armani empire has an army of more than 9,000 employees, with women comprising half of the executive suite, along with seven industrial hubs and over 600 stores worldwide, according to figures released in 2023. Along with clothes and accessories, the company produces perfumes, cosmetics and home furnishings, as well as selling its own candy, flowers and even books. The designer opened his fifth multi-brand store on New York’s fashionable Fifth Avenue in February 2009.
Story continues below advertisement
In the realm of fashion hobbies, Armani owned several bars, restaurants and clubs, as well as the basketball team. Recreation time was spent in getaways in Broni in the countryside near Milan, the isle of Pantelleria off Sicily and St. Tropez on the French Riviera. Each home bore the trademark of Armani design: bare walls, important pieces, few knickknacks.
Like many of his colleagues, Armani tried to give back some of the fame and fortune he amassed during the heyday of the “moda Milanese” which put Italian ready-to-wear at the center of the world’s fashion map at the turn of the millennium. Personally involved in several charity organizations devoted to children and a staunch supporter of the battle against AIDS, in 2002 Armani was named a U.N. goodwill ambassador for refugees.
Galeotti died in 1985. Armani had no children but was very close to his niece Roberta, daughter of his late brother Sergio. She abandoned a budding film career to become his director of public relations, and often represented her uncle, who wasn’t much of a party-goer, at social events. In later years she was a key go-between with the celebrity world.
In 2006, she orchestrated the top-billed wedding of actors Tom Cruise and Katie Holmes in a medieval castle outside Rome, while Uncle Giorgio designed the attire for both bride and groom.
Armani had indicated that as he considered succession he was looking toward his longtime head of menswear Leo Dell’Orco and his niece Silvana Armani, who fills the same role for womenswear.
The Massachusetts Commission on the Status of Women recently honored 125 women from across the state as 2025 Commonwealth Heroines based on their acts of public leadership and volunteerism to help advance the status of women.
A handful of effective North Shore women — Ana Nuncio of Salem, Jeannette McGinn of Peabody, Martha Morrison of Topsfield, and Jessica Brown and Marybelle Hollister, both of Marblehead — were among those honored
This page requires Javascript.
Javascript is required for you to be able to read premium content. Please enable it in your browser settings.
When the Barbenheimer phenomenon vaulted two summer movies to blockbuster glory, it was clear how the films diverged when it came to the trajectories of their female characters. Stereotypical Barbie, played by Margot Robbie in Greta Gerwig’s candy-bright confection, winds up trading the plasticine perfection of her Malibu Dreamhouse for the mixed-bag freedoms of the real world. In the case of Kitty Oppenheimer—wife to the so-called American Prometheus, brought to simmering life by Emily Blunt in Christopher Nolan’s biopic—she is still, in the metaphorical sense, confined to the box. A biologist who winds up relegated to the roles of wife and mother, she remains unfulfilled, “bristling against the constraints of womanhood at that time,” Blunt says in a video about her Oppenheimer performance, which has garnered a raft of best-supporting-actress nominations. Kitty is a “really brilliant brain that kind of went to waste at the ironing board, and she suffered for it.”
Blunt slips into her Giorgio Armani Privé dress with help from stylist Jessica Paster.
By Jenna Jones.
If Kitty has the force of an undetonated weapon, what Blunt unleashed at Sunday’s Critics Choice Awards 2024 was pure bombshell—red paillettes glowing like fire under the lights. “We were going for a modern twist on Old Hollywood,” stylist Jessica Paster says by phone, shortly after Blunt decamped for the carpet. (She joined her Oppenheimer cast members onstage to accept the award for best acting ensemble.) “The minute I saw that dress, I knew that I wanted it for Emily. I said, ‘Please put it on hold—I just don’t know for what!’” Such was the coup de foudre sparked last July when the one-shoulder Giorgio Armani Privé look appeared on the runway. “The movie is set in the ’40s and ’50s, and that’s what I love about this silhouette,” Paster says. “More important,” she adds, “it has the femininity, but it’s a very strong dress.”
Makeup artist Jenn Streicher swatched countless lipsticks, seeking this precise shade of red—Chanel’s 31 Le Rouge in Rouge Privé.
By Jenna Jones.
Much of that magnetism—glamour at its most grounded—is due to Blunt’s personality, funny and cerebral and warm. Another quotient is her bedrock team. “We’re all in tune with each other,” says Paster, speaking about the others in the creative triumvirate: Jenn Streicher on makeup, Laini Reeves on hair. Streicher comes to the phone, tracing their origin story to the 2007 awards season following The Devil Wears Prada. “I had actually been working with her husband, John [Krasinski], and they had just started dating,” the makeup artist recalls. “I was like, ‘Yeah, if you ever need anybody, just let me know.’” The next week, Blunt called up about the SAG Awards. “John always says that she stole me from him,” Streicher says with a laugh.
The red shoes are by Alexandre Birman; hairstylist Laini Reeves, working with the hair-health line Burgeon, secures the rosette-like buns.
Mark your calendars: This Sunday, January 7th is the 81st annual Golden Globe Awards, airing live on CBS at 5 p.m. PST. We’ll be breaking down the best red-carpet fashion and beauty looks here at WhoWhatWear.com, and we’ll also have editors posted up IRL on the red carpet to capture original videos for our Instagram and TikTok accounts. Like, comment, subscribe!
In the meantime, we decided to play a little fashion prediction game. Below, we pulled 17 runway looks that we’re dying to see at the Golden Globes this Sunday. Designers include Valentino, Armani, Fendi, Schiaparelli, Richard Quinn, Carolina Herrera, Ralph Lauren, Alexander McQueen, and more. Scroll down to see our picks and stay tuned to see if our predictions are correct.
If it seems like fashion news is moving at a mile a minute, well, you’re not alone. Despite our numerous social media feeds and perpetual press releases, it can be hard to keep up with the latest industry updates—even as full-time editors—which is why we’re trying something new and boiling it down to just the basics. Here are the five new things fashion people are talking about right now:
Emporio Armani Opens Its Flagship Store in NYC
New York City’s iconic shopping neighborhood, SoHo, is officially back on the grid thanks in part to the opening of exciting designer stores such as Emporio Armani’s new flagship at 134 Spring Street.
For this opening, Armani shot its global ad campaign in NYC featuring several eye-catching black and white images that serve as a tribute to the city. There is also an exclusive EA Soho collection that will be sold only in-store at the flagship location.
Chloé Unveils Store Redesigns at Bal Harbour, Wynn, and Saks Fifth Avenue NYC
Chloé, one of the first certified B-corp luxury brands, has just unveiled its re-designed boutiques in Florida, Las Vegas, and New York. In line with the French brand’s commitment to environmental responsibility, the energy-efficient boutiques use recycled and lower-impact materials such as linen, stone, and other natural materials. Get an inside look at the stunning new stores here.
An Auction Fit for Hollywood Royalty
Next month, Julien’s Auctions is auctioning off over 1,400 pieces of iconic Hollywood memorabilia. Items include three dresses worn by Princess Diana, a pink dress worn by Audrey Hepburn in Breakfast at Tiffany’s, Lauren Bacall’s wedding ring from 1945, and a taffeta dress worn by Greta Garbo in Camille. See the full list of items here. The auction begins on September 6.
Clare Waight Keller Returns to Uniqlo
Following her exit from Givenchy in 2020, Clare Waight Keller—perhaps best known as Meghan Markle’s wedding dress designer—is ready to try something new with Uniqlo. Her new collection, dubbed Uniqlo: C, will be unveiled online and in 1500 stores beginning on September 15. The collection features 30 pieces with Waight Keller’s signature pleated fabrics and even vegan leather Chelsea boots priced at just under $60.
Prepare for a Ferragamo Renaissance—Literally
The storied Italian heritage brand pays homage to its hometown with its Fall 2023 campaign in partnership with Florence’s Uffizi Gallery. Shot by esteemed Gen-Z photographer Tyler Mitchell, the campaign imagery features significant artistic works, such as Giorgio Vasari’s Portrait of Alessandro de Medici, as a backdrop for everything from sharply-tailored suits to elegant formalwear. Every single image (and every piece in the collection) is truly a sight to behold.
MILAN (AP) — It was nipples out on the Milan Fashion Week runway this season, one of the clear trends emerging from a week of previews of mostly womenswear collections for next fall and winter.
Wherever there is a trend, there is always the counter-current, and holding out for what he described as “the dignity of women” was Giorgio Armani. Where sheer fabrics were employed in his collection, it was with modesty.
Armani’s show closed out fashion week on Sunday. Here are highlights from the last day of live runway shows:
TOMO KOIZUMI PUTS A SMILEY FACE ON FASHION
With swirls of colored taffeta and satin gathered into crushed roses, Japanese designer Tomo Koizumi put a smiley face on a rainy Sunday morning.
The exuberant looks were spasms of color fashioned into ruffles on a minidress constructed from stripes of knitwear, elaborate skirts with deep slits and dresses with southern belle silhouettes. These are occasion pieces that would be standouts on any red carpet, stage or party; imagine the lucky girl wearing one to prom.
The runway show was in collaboration with Dolce & Gabbana, which supplied textiles as well as handbags and shoes, Koizumi said. He turned a print from one of the Italian house’s recent collections into a series of 3-D floral creations.
“I took inspiration from Dolce & Gabbana, and I also got powerful support, which allowed me to push myself even harder,” Koizumi said.
Koizumi also put out there his dream: “To be hired by as creative director of a major fashion house.”
GIORGIO ARMANI’S INTIMATE PEEK INSIDE
Giorgio Armani once again gave the fashion world a glimpse of idealized life inside Milan’s stately palazzi, populated by women for whom dressing in comfort and style are not a contradiction.
Satiny loungewear in soothing earthy tones skimmed the form and were grounded in more structured pieces, such as leather motorcycle jackets or contrasting black vests. The looks were elegantly layered, with long dresses over a translucent ribbed trouser suggesting lingerie.
Where sheer fabrics were employed, it was with modesty, for example, over dark tights, and with a bandeau top of velvet.
Beaded fringe, velvet bows and a flower motif underlined the femininity in the collection. And before the Armani woman walks out into the street, one last touch of face powder …
Armani said the collection is about “the dignity of women, dressed with a lot of care and attention, and who take pleasure in dressing.”
CHECKMATE FOR FRANCESCA LIBERATORE
Italian designer Francesca Liberatore conceived her show, featuring a collaboration with the Errea sportswear brand, around a chess game, a comment on the state of the world on many fronts.
Eight Black models walked the runway and took their places on a chessboard laid out in the center of the showroom. Next came eight white models, who faced off from the other side.
“It is exactly because of the situation that we are living that for me it is essential to have an eye on fairness,” Liberatore said backstage. “And there is nothing like a game to even out situations.”
The first 16 models, who represented the pawns, were followed by the rooks, two with big bouffant hair styles to represent the castle shape. The knights wore long extensions to embody horse tails, while the bishops had hoods pulled over their hair.
Women took the roles of both king and the queen, and walked hand in hand in stately fashion to their spots on the board. Raised collars denoted the kings, sweeping trains the queens.
The Erra collaboration underpinned the looks, including track jackets, stretch tops and leggings in medieval patterns. Liberatore layered the sportswear with draped or half-pleated mini-skirts, tailored jackets, striped and ribbed knitwear and flowing overcoats in the way of an unselfconscious youth mixing style and comfort.
“For me, the chessboard also represented the idea of teamwork,″ the designer said.
DIVERSITY DISPLAYED AT TRADE FAIR
White Milano, the premiere womenswear trade fair held alongside Milan Fashion Week, worked with the Fashion Minority Alliance to feature two Black designers as they promoted a conversation around diversity.
U.S. designer Romeo Hunte and Nigerian-Scottish designer Olubuyi Thomas look to their environments for inspiration, and both are keen on garments that can be transformed to serve multiple purposes.
Hunte draws on his Brooklyn-roots for his luxury fashion brand with the six square-dot logo, built around deconstructing garments and oversized proportions to give a modern touch. His trademarks include zipper features that allow a trench to shorten and go sleeveless, giving longer life and flexibility to the outerwear.
The Milan showcase gave him the opportunity to connect his 10-year-old brand with international clients. “It means a lot to me. Me being here will open the way for younger designers as well,” the designer said.
Hunte’s designs have been worn by Michelle Obama and Jennifer Hudson, and he recently did a collaboration with Tommy Hilfiger, whom he called his mentor.
Thomas seamlessly combines his Scottish upbringing with his native Nigeria because “that’s who I am.” He sources materials in both countries, including hand-woven tartans he designs and Nigerian textiles with cutouts and contrast stitching. One tartan skirt on display at White featured plaid in the back, with black pleating in the front (or vice versa), giving choice.
“I love working on garments that are modular, depending on who are you are, and what day it is,” Thomas said.
He is the only designer commissioned to produce his own tartan for an exhibit on the traditional plaid at an upcoming exhibition at the V&A Dundee, Scotland’s design museum.
CHINESE BRAND ANNAKIKI’S SENSE OF DOOM
Chinese designer Anna Yang infused her latest ANNAKIKI collection with a sense of doom from the multiple disasters humankind has faced in recent years, from the coronavirus pandemic to the war in Ukraine.
Yang could not travel to Milan Fashion Week because of visa issues, but her collection and new techniques did the talking for her. She brought out a sense of pessimism in raw leather and burned the edges of an ample tulle dress, achieving a dramatic effect.
Giorgio Armani and a slew of fashion CEOs turned out Sunday for a premiere of documentary “Milano: The Inside Story of Italian Fashion,″ by Emmy-winning filmmaker John Maggio.
The documentary gives due credit to Armani for putting Milan ready-to-wear on the map in the 1980s with the creation of the deconstructed jacket that made menswear sexy and relaxed, as epitomized by Richard Gere in “American Gigolo.”
“Fashion made me grow up and become someone. It was not easy initially, as I didn’t feel up to it, but slowly I gained courage to want to be someone in this adventure,″ Armani said upon arrival at the premiere.
The 88-year-old designer, who presented his latest womenswear collection earlier in the day, received an enormous round of applause at the start of the film, when producer Alan Friedman introduced him to the very-fashion crowd as “the man without whom today Milan would not be the capital of fashion.”
The documentary also recounts the competitive tensions between Armani and his classic elegance and Gianni Versace, who helped fuel the super model era with his more overtly sexy collections.
In the documentary, former Gucci creative director Tom Ford and ex-Gucci CEO Domenico De Sole discuss attempts to merge Gucci and Versace, which ultimately failed after Versace’s 1997 murder under the insistence of his sister, Donatella Versace, that she remain at the creative helm.
In the intervening years, Gucci, along with many other Italian family-run companies have been bought up by French conglomerates, and Versace is now part of the U.S. group Capri Holding. Italy has failed to come up with a fashion group of its own to challenge the French dominance; fashion houses like Armani and Dolce & Gabbana are among those that remain staunchly in family hands.
The documentary is expected to be released on a streaming service later this year.
When the season two finale of “The White Lotus” came out and subsequently shattered hearts, minds and several fictional relationships, audiences around the world were not only left with a number of questions of where the characters will go next, but also a hole in our Sunday evenings. We missed seeing their problematic but lovable faces weekly.
Well, Men’s Fashion Week heard the world’s prayers and came to answer them. As the Fall 2023 season has gone on in Milan and Paris, it’s been near impossible to scan a celebrity front row and not see someone from “The White Lotus.”
Albie, Cameron and Ethan (a.k.a. Adam DiMarco, Theo James and Will Sharpe) returned to Italy for the Prada, Giorgio Armani and Emporio Armani shows, respectively, while Sicilian icons Lucia and Valentino (Simona Tabasco and Sabrina Impacciatore) stunned at J.W. Anderson’s latest debut. Tabasco then kept the fun going in Paris at Ami’s Fall 2023 event.
Take a look at who we’ve spotted so far.
Simona Tabasco at Ami Paris Menswear Fall 2023
Photo: Pascal Le Segretain/Getty Images
Scroll to Continue
Adam DiMarco at Prada Menswear Fall 2023
Photo: Vittorio Zunino Celotto/Getty Images for Prada
Simona Tabasco at J.W. Anderson Menswear Fall 2023
Photo: Daniele Venturelli/WireImage
Theo James at Giorgio Armani Menswear Fall 2023
Photo: Courtesy of Giorgio Armani
Sabrina Impacciatore at J.W. Anderson Menswear Fall 2023
MILAN (AP) — Milan Fashion Week closed four days of mostly menswear previews for next fall and winter on a note of tranquility.
Italian fashion world stalwart Giorgio Armani took his admirers inside Milan’s hidden courtyards, islands of calm concealed from general view within the walls of the city’s austere neoclassical architecture.
Indian designer Dhruv Kapoor, a relative Milan newcomer, hopes to promote an interior journey with a new collection in which he seeks to reconcile alter-egos – be they romantic, aggressive or pensive – as a way of healing.
While creating similar moods, the presented designs couldn’t have been more aesthetically opposite: one a study in tailoring and muted hues, the other an explosion of color on silhouettes that mix the oversized with the petite.
Highlights from Monday’s shows:
DHRUV KAPOOR PROMOTES HEALING
Kapoor has a message of radical self-acceptance in his collection, which combined floral prints promoting stillness, cartoon images of Godzilla representing aggression and lace details for romanticism.
The designer, through his unisex collection dubbed “The Embracer,” advocates embracing all of our parts, even those viewed negatively. Not that he thinks the solution lies in wardrobing.
“It’s a very simple process. Look in the mirror and tell yourself, ‘I love you.’ And see how the magic starts to shift. You just need to admire yourself just the way you are,” Kapoor said backstage, adding that he has felt a dramatic shift since adopting the practice. “I don’t know how it comes. I never dwell on the how.”
The collection includes a fitted, ripped denim dress over loose jeans. Broad-shoulder suit jackets were combined with tight trousers that flare into a bell bottom. Oversized sweatshirts were layered with cotton tunics and a sheer lace pant. Godzilla raged on the front of a button-down shirt or tight-fitting dress, while a silver pillow jacket had reptilian spikes down the back.
“Godzilla also has a very negative, monstrous thing attached to it,” Kapoor said. But that should not impede acceptance, he insisted.
Crystals on knitwear, suits and jackets hold energy that Kapoor said can be activated to have a positive impact on the wearer’s life. Instructions are included with the garments.
Models traversed the Tiepolo room in the 18th century Clerici Palace beneath images that included demons, walking to the beat of modems connecting mixed with classical music and hip hop. The mashup gives “us a whiff of the past and the future,” Kapoor said. “And we are birthing a new present.”
Kapoor also promotes healing for the environment. Nearly two-thirds of his collection is either upcycled, employing leftover textiles that otherwise would be discarded, or recycled. For this season, all of his suit fabrics are made from recycled plastics.
___
ARMANI’S HIDDEN MILAN
Hidden from view in Italy’s frenetic fashion and finance capital are quiet gardens ensconced in Milan’s courtyards.
Giorgio Armani suggests these are places to pause and take stock before emerging for business or play, this season on soft footwear with rubber soles.
Models walked slowly to a soundtrack of Italian pianist-composer Ludovico Einaudi soundtrack while wearing suits and separates that were deeply textured, projecting self-assuredness in the 88-year-old designer’s trademark soft-silhouette.
The color palette consisted of soft earthy tones set off by olive and forest green with a surge of crimson in sportswear and a final smattering of weekend dandy looks. Flannel cargo pants were paired with soft sweaters. Disciplined double-breasted suits befitted a negotiating table. Big gake furs, including one in tiger print, lightened the quiet mood.
The show closed with couples dressed in shimmering black evening dresses and formal suits with silk or velvet details chattering down the runway, as if they were leaving a party.
Armani conceded that flashes of skin on other runways this season had a sensuality. But he stuck by his conviction: “You can wear anything you want, but when you are at an important table, you need to wear an important suit,” he said.
His one transgression: ties that arch under the knot, as if pulled loose, and worn tucked into vests, “to give space to relax.”
