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Giorgio Armani

Fall 2023 RTW Menswear

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Properties

Date: January 16, 2023
Location: Milan, Italy
Looks: 80
Brand: Giorgio Armani
URL: wwd.com

Critic Reviews

By Miles Socha for WWD

With much of the fashion industry in hot pursuit of Gen Z and social-media buzz, making a play for the more mature, confident man on the runway seems almost radical.

Giorgio Armani did so magnificently on Monday, delivering a pleasant, confident show true to himself and largely in step with the season’s yen for plush, cozy and comforting clothes.

His models, classically handsome and with more than a decade’s experience shaving, tread silently across a gleaming set of tawny marble to tinkling piano and stirring strings.

There was an emotional tug accentuated by the gentle music and the dignity of these clothes, mostly neutral in color, the tailoring as comfortable as a cardigan, exalting Armani’s original invention.

Herringbone has been absent from the runways for so long, this reviewer needed Google to jog his memory. The designer carved it into handsome topcoats and soft suits, also employing speckled tweeds, Prince of Wales checks and other traditional menswear fabrics, along with velvets and a range of plush materials.

Dress trousers, often shaped like sweatpants, came in thick, nubby fabrics that sometimes zipped over rubber-soled Chelsea boots in suede and leather. If there was any ploy for editorials and celebrities, it would be the animal-print parka in faux fur, wild by Armani standards.

He was more on terra firma with stately shearlings, shapely pea coats and handsome dinner jackets.

Billboards for Neve, the designer’s newish skiwear brand, are plastered all over Milan and the designer included a segment of heavily quilted gear for snowboarding and polar expeditions.

He also acknowledged that he’s in the thick of awards season, capping off Monday’s display with a gaggle of glamorous men and women in glittering evening finery. They spilled out in twos, laughing and embracing each other as if they had just enjoyed the night of their lives — or scooped up armfuls of Oscars or Grammys.

The designer explained the finale at his post-show press conference: “Transgression and modernity are perfectly fine, but I liked the idea of seeing once again a cute couple together.”

By Luke Leitch for Vogue

Shortly before Armani’s now traditional runway show sports-diffusion interlude—here at Giorgio it was Neve, while at Emporio it was EA7—Milan’s 88-year-old master menswear architect discreetly showed his hand. Out came two three-piece suits, one blue and the other black, in a silky looking material whose movement suggested they were almost certainly shot through with technical ingredients. Each was delicately to (the point of imperceptibly) crinkled with raised rivulets of irregular lines. These appeared almost identical to the veining of the marble backdrop and runway installed in the desinger’s Via Borgonuovo palazzo for this show.

As later confirmed in the notes, this was a Giorgio collection that took subtle inspiration from the architecture of Milan. The narrow paneling in leather bags, lightly padded jackets, a mixed-material sweatshirt, and even some of the ski pieces reflected the ground-floor rustication you will see in many of the city’s pre-war buildings. The geometric gridding and zigzags worked into jacquard knits mirrored the many beautifully marble-inlaid communal spaces in buildings across the city. And the richly textured gray wools, velvets, and cashmeres used in the opening sequence were this collection’s equivalents of the finely carved gray stone doorways through which you must pass to see them.

This was the conceit, but it was not overplayed. You gradually suspected that the audience was positioned as his portieri, or doormen, in order to observe a steady procession pass the runway threshold dressed in a manner characteristic of Armani’s this-season conception of Milan-born menswear. That contemporary version naturally related back to his mid-’70s conception of it, but the refurbishment was full of fresh pleasures and unusual touches. Business or casual, evening or day, and post-ski weekend too, almost every inhabitant—arguably except for the pair in full length faux-fur animalia coats and wraparound sunglasses, who seemed out-of-towners up to no good—were patently inhabiting Armani’s architecture of style.

Every look was a differently appointed edifice designed in that architectural school. Nehru-collared high suiting in velvet topped cuffed pants cut to taper and shaped by pleat, both above the paneled velvet sneakers in black or burgundy that were one of a series of returned-to footwear foundation pieces. A blue-accented suit in Prince of Wales was shared between two looks, worn (pants only) against a gray melange zip-up jacket and again (jacket only) north of flowing herringbone pants cut wide.

Visitors seemed variously to be returning from military service (in a highly stylized but attractively functional riff on the uniform) or country weekends (high boots, wide-brimmed Alpine hats, and shearlings). After the ski-party had rolled home, five male-and-female model couples clustered at the end of the runway as if meeting by chance on the way up to a party. They passed through in deformalized black velvet suiting and crystal accented evening wear, one woman toting a bag stitched with a portrait of the designer who had invited them here. Then that host came out in person to greet his guests. This was the second hit in a one-two of strongly styled and much admired Armani episodes this season.