GEORGIO ARMANI (b.

1934)
I believe in a new elegance, in a new fashion in step with the changes in women and the world: essence, simplicity, figure, rigour, sober beauty, restrained colour. This conviction suggested a way of being, and a way of operating in keeping with a new concept of the classic. I wanted to be more democratic, and to separate high fashion from the image of an applied art destined for only a few globetrotting millionaires. I thought about people. I thought about a form of education of taste.

GIORGIO ARMANI: WHO IS HE? Italian Designer Most noted for his rethinking of the suit (for both men and women) . For men he removed all its stiff formality and created instead a softly flowing garment that was classically comfortable. For women he helped develop the more masculine suit, keying into ideas of power dressing that emerged in the early 1980s He is also well known for the calm neutrality of his palette, using blacks, creams and navy. Perhaps is most used colour is the new colour of greige that he developed.

All in all he is one of the greatest and most successful of all twentieth designers operating in the classical mode.
His designs (until very recently) were marketed at the very top end of the pret a porter market and his clothes were often favoured by celebrities ( he has also designed for movies). In 2004 he launched his haute couture range whilst at the same time criticising some of the ridiculous prices of other haute couture collections.

Greige and neutral shades: they are calm, serene, they provide a background upon which anyone can express himself
Softer suits for men, more tailored shape for women, more gentleness for men and more strength for women.

CONTEXT FOR HIS CLOTHES WHAT IS HAPPENING IN SOCIETY? WHAT IS HAPPENING IN FASHION? 1970s: global decline in terms of economy, fashion seen to be in a bit of a rut, Armani reinvigorates it with wearable, classic collections based on fine, soft fabrics and wearable neutral colours.

Contrasts, for example with the more anarchic, confrontational, youth orientated work of Westwood and the more avant garde conceptual designs of Miyake.
As we move into the 1980s Armanis fashion seems to mirror ideas of more opportunities for women in the workplace, especially in the financial sector: ideas of the broad shouldered power suit. In contrast, mens clothing becomes softer, revealing the fit, toned body beneath, showing the growing interest in male body image.

ARMANI AS A DESIGNER OF FASHION CLASSICS

Clothes are timeless, wearable, unfussy, comfortable, restrained, use a limited neutral palette, exceptional quality,
I suppose I wear Armani because it suits who I am, someone who cares for comfort, fit, and subtle fabrics. I dont need to be the flashiest person in the room, just the most confident. Jodie Foster When I speak of Armanis classicism, I am not referring to historical revivals, or to a proposal of systems of improbable certainties; rather, I am speaking of an open system of signs, a recognizable but incomplete code, and thus one that can be updated, one that is more concerned with quality than with style.
Andrea Branzi

HIS FIRST COLLECTIONS OF NOTE (1976-9) Soft double breasted suits for men, tweed, leather, natural coloured separates Easy, loose cut styles for women, also in neutrals: soft suede, linen , wools flanells hints of English country style , influence from American actors of the 1930 and 1940 importance of the suit Introduction of glamorous evening wear - although day wear more important. INFLUENCES ON HIS WORK Armani claims that he has always tried to make clothes that are without references so obvious influences on his work are hard to identify. However, he does sometimes look to non western cultures for ideas. He also likes to capture a feel or loose visual reference in his work he likes in particular the mans suit of the 1930s and 1940s. He claims also to be influenced by the restful, neutral palette of the Italian painter Morandi (1890-1964)

In 1990s Armani has looked to cultures of India, Malaysia, China and Japan Recognised that many non Western styes share affiities with his own ideas - drape and fold of the sari and less structured nehru jacket. Often richly decorated.

Approach is not a pure one but one based on vague ideas of sensibilities of a culture , rather than a rigorous research approach.

Woman's evening jacket and trousers fall/winter 1990-91

ARMANI AND GENDER: THE MEN

The soft suit: softer shapes and softer fabrics Richard Geres character in American Gigolo shows us idea of the man obsessed with clothing, the twentieth century dandy. Armani clothing becomes fetishised and Gere becomes and object of sight. The advertising images that invite us to look at the bodies and faces of men as sexual objects (Calvin Klein adverts are doing similar things at the same time)

Blurring of boundaries between what is considered masculine and feminine: Armani shows both men and women in softly structured trouser suits.
But his approach to gender ambiguity always results in wearable, non confrontational garments.

To work well, Armanis soft, unsculptured suit demanded a firm male body from the wearer. The 1980s was the decade when body consciousness, aerobics and gym culture really kicked off. Armanis clothes follow that trend.

Advertising imagery from the 1980s and 90s show this subtle shift in gender expectations.

These images from Calvin Klein by Bruce Weber push this idea of the male figure as object of sight even further.

ARMANI AND GENDER: THE WOMEN Development of the power suit, wide shouldered to give a more masculine silhouette. Although Armanis look is still rather soft when compared to designers such as Montana Advertising image (Fall/Winter 1984/5 that shows woman with New York financial newspapers, positing her as an achieving (although slightly apprehensive female). Armani was first designer to show front pleated trousers for women.

Always retains sense of glamour and femininity in womenswear, although sometimes wittily plays with masculine sartorial conventions in design of eveningwear.

1986

Note how this image from Spring/Summer 1989 reverses the expected poses from men and women. Note also the similarity between men and womens suits

Evening wear from collections in the late 1980s and early 1990s which wittily reference mens evening wear

Jumpsuit, fallwinter 2002 Giorgio Armani (Italian, born 1934) Gray silk satin

GIORGIO ARMANI AND HAUTE COUTURE Now, I am ready No more Mr Beige. Now I am Signor Couture.

Armani launched his haute couture range PRIVE for the 2005 Spring/Summer season. He marketed the PRIVE range on price and accessibilty with evening wear available from around 12,800 to 46,500, significantly cheaper than a couture garment from Chanel or Dior. He claims that his is the modern approach to Haute Couture.
He claimed the leap into couture was not such a dramatic one as many of the gowns shown on his catwalk previously had been virtually couture in terms of their construction and amount of hand beading and embroidery.

ARMANI AS A GLOBAL BRAND: Giorgio Armani has also led the way in the development and diversification of the design house as a global brand. The estimated worth of his brands is $2 billion
He has developed the label to encompass fragrances, cosmetics, interiors, sunglasses, even a specially endorsed Giorgio Armani Mercedes Benz and a number of luxury holiday resorts operating under the Armani name. Recent reports claim that Armani is due to open a confectionary store, prompting the comment that Mr. Armani will be the first designer to sell suits, suites and sweets. His brands include: Giorgio Armani, Armani Collezioni, Emporio Armani, Armani Jeans, Armani Exchange, Armani Casa (interiors), Armani Junior and now Armani Prive (haute couture).