Has Giorgio Armani’s Show, Aired Live On TV, Opened Up Fine Fashion To The Whole World?
Nature’s greenery has been the backdrop for the majority of designers in Milan Fashion Week. Although a few creatives have staged events in green gardens with random, socially separated seats, most have used their ingenuity to capture an audience digitally.
As models walk deserted, dreamlike Italian streets (accompanied by birdsong rather than hooting cars), the shows for Spring/Summer 2021 have abandoned the physical audience in favour of the metaphoric. (The most hilarious example was Moschino’s ‘puppets’, comprising designer Jeremy Scott’s doll versions of a front row, including figurines of Vogue’s Anna Wintour and Edward Enninful.)
But it was Giorgio Armani, 86, who took a powerful step forward by showing next season’s collection – female and male – live on Italian TV station La7.
On prime time, mid-Saturday night, the half-hour slot marked the ultimate democratisation of fine fashion, with the show also streamed on the brand’s website and social media channels.
“This has been a while in my thought process, with the sole aim of reaching as many of the public as is possible – regardless of the fact that all will be behind closed doors,” the designer said in a letter to me, adding that he was calling the show ‘Timeless Thoughts’.
It followed the same week’s event for the Emporio Armani line, a digital show named ‘Building Dialogues’ – wearing super-light fabrics for both sexes, the models walked though hard glass-and-concrete modernist buildings and even danced through water. Other figures watched the descent of a giant ball that added a mysterious, space-age element to the presentation.
The main collection spelled out the Giorgio Armani, 45-year consistency, defined by the designer as “evolving relentlessly while staying firm to its roots; in subtle balance between rigour and sensuality, city and exoticism, purity and slight concessions to eccentricity.”
To explain what is described in the industry as “a dazzlingly consistent style”, the designer added: “It is the result of a process of subtraction.”
It is, indeed, exceptional – even extraordinary – to produce multiple collections within one spirit but all subtly different. For example, the colours, rising from the first meld of the designer’s famous ‘greige’ (mixing grey and beige), created a luminous effect in the fabric, while translucent jewels added a glassy touch. The men’s tailoring was slightly more strict, but also had a shimmer in the fabrics, subtly set off by the texture of suede shoes.
For the women, the slithering check of a jacket evolved into a wispy, flowered chiffon skirt. Into the mix went checks or stripes on a jacket and skirt and a dress tinted with a silvered pattern. All 99 offerings took a similar approach - tailoring with a sheen for both sexes, with greater transparency for women.
The colours cycled through shades of icy blue to warmer pale pinks and crisper black and white. It would be hard for either sex not to find clothes suitable for the office (if anyone in the COVID-19 era still goes in). But the effect of the varied textures and colours was striking. For evening, there were black dresses with a scattering of blue flowers or crisp checks. Colours, including a soft green, were in subtle, faint shades - while the textures made stronger statements.
I am looking forward to hearing just how many people watched the show on TV – and whether it made them dream. Because that is what is needed today in fashion – and life – in these perilous times.
Ferragamo
‘Out and about’ is the mantra of many of the shows presented online in the Milan season. Figures move in their elegant outfits through every designer’s favourite outdoor greenery.
For the Salvatore Ferragamo digital show, the models walked in and out of gardens, woods and water, and also through the sumptuous, historical Rotonda della Besana building with, mysteriously, absolutely no-one about. It was perhaps meant as a dreamscape reflecting the company’s roots in Florence. Birdsong in the background added to the peaceful elegance.
The on-screen presentation of detailed clothes, bags and shoes was informative – but dull. The background colours of streamlined outfits were yellow, scarlet (for men) and flower shades of pale pink (for both sexes).
Designer Paul Andrew has successfully integrated his own footwear background with Ferragamo’s original focus on shoes. He found the appropriate garments to accompany them: timeless sportswear with different variations of colour; soft suits; flared skirts; and the occasional surprise, such as embroidered wildflowers.
The problem is quite simply the larger issue facing all brands – how to move forwards in the pandemic. With an increasingly large number of high-level brands now selling online, should a presentation be a dream that inspires a desire to buy – or just a clear illustration of what is on offer?
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