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Giorgio Armani

Fall 2023 RTW

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Properties

Date: February 26, 2023
Location: Milan, Italy
Looks: 74
Brand: Giorgio Armani
URL: wwd.com

Critic Reviews

By Samantha Conti for WWD

From the pink-and-white marbled runway, with its little cushioned banquette, to the final model who clicked open a Giorgio Armani compact to powder her face, it was clear the designer was thinking about private spaces and peaceful moments behind the doors of the boudoir.

There were so many Armani signatures here, such as sarong-like skirts layered over fluid trousers; short, sleeveless embellished jackets, and sharp-shouldered coats. But instead of the designer’s signature plays on greige, the palette took in earthy neutrals similar to those in the Armani Beauty collection.

Fabrics were soft and shapes were languid, as in a pale satin pajama suit, styled with a tailored jacket (it’s Armani after all) and a lineup of liquid trousers and dresses, in dark green, melon or copper tones.

They were layered under embellished tops, fitted jackets or coats, such as one floor-length style, pink as a cherry blossom.

Though formal, these trousers nodded to the sports field, with drawstring or elastic waists, tab details around the ankle, cargo-style patch pockets and go-faster stripes.

While Armani may be late to the athleisure party, those styles will be a boon for his red carpet clients, who can eat and drink to their heart’s content without worrying so much about their waistlines. Others will also rejoice when they see his glittering evening gowns worn with loafer-style flats – a radical pairing for any red carpet designer.

Yet Armani would argue this is the whole point of design. “Fashion is made for women, not for newspaper stories. I’ve stood firm on that point for a long time,” said the designer following Sunday afternoon’s show.

An Art Deco mood filtered through the collection in the form of big silky wraps with long fringes, a pink abstract flower on a long black velvet dress and the fringed flapper cap worn by the model who powdered her nose, promoting the brand’s skin care and cosmetics lines.

Why not? It was only a few weeks ago that Rihanna did the same, pausing during her Super Bowl halftime performance to touch up her makeup with a Fenty powder compact, drawing the worlds of fashion, beauty, sports and celebrity ever closer.

By Luke Leitch for Vogue

Entitled Cipria, or face powder, this lovingly precise Giorgio Armani collection’s foundation was his consideration of the personally intimate rituals of self-care and beautification. As has become customary, the show was held in the basement of Armani’s own palazzo: the 200-seat room has a faint but tangy scent of ozone that suggests some fabulous personal spa facility is not so far away. Almost as tangibly, the intimacy of the setting transmitted a supremely serene creative confidence, just as some of the more bombastic shows we are exposed to telegraph a lack of it.

The showspace was laid out in charcoal-veined marble tinted gray, off-white and blush pink. The lights came up to illuminate the first three models seated and standing on a cushioned bench, chatting, as if unobserved in a powder room. Then the first model swiveled decisively and walked out in the first look of 74; she wore a black beret (there were many more ahead), a loose one-buttoned trench and a high-rise track pant in camel, and black patent toed oxfords. As upon all the models, a gentle spectrum of carefully applied color bloomed around her eyes.

There were several key ingredients and processes in this Armani collection’s formula, which presented inter-related groups of looks that seemed often to be signified by the choice of earring. The two key decorative motifs were a sketched flower and an abstract group of finger painted lines in the same colors as the marble: those patent toed flats and perspex heeled sandals sometimes matched the surface they stepped on near-exactly. There was a side serving of leopard—a rare spot at Armani—that was prefaced by a cappuccino-colored silk pantsuit and high jacket that featured abstract spots that could either have been animalia or based on blotted lipstick prints.

Texture was a focus-point for experimentation; slivers of faux fur were cut against angular strips of silk in a jacket whose contours mirrored the angular resin bangles whose colors again reflected the baseline palette. Several garments including wraps and hats were edged with generous fringing. A short, black-armed jacket was fronted with slivers of pink fabric placed around black diamonds to create a pattern that, as at the menswear show this season, evoked typical Milanese domestic decoration.

Tailoring pieces were inflected by Asian traditional shapes, a decades-old Armani reference point. Outerwear tailored pieces were consistently cut with two high vents running up to each hem in order to create free and easy movement. At the last a model came out in a fringed hat and full length dress in narrow strips of what looked like leather and a black crepe etched periodically with crystals. As she walked she held up her compact and considered her makeup. Mr Armani rarely strays from his lane, but why should he? After all, it was he who built the road in the first place.