Why is giorgio armani famous

Having that freedom to venture out of the city, which was being bombed, it was an incredible pleasure. Small things. It had to carry on. I think that it was important for me to be able to continue working, also for the people that work for me — to protect them, to give them certainties in a moment of uncertainties. He meets with heads of countries and is a figurehead himself, which can sometimes shift perceptions of the person behind.

At the end of his first show — two were held, each for just 80 guests — Armani clustered the press together in a small garden. He had something to tell us. He wrenched up his sleeve, revealing a fresh scar, and explained how he had fallen just 20 days prior, after having ventured out for the first time to see a film at the cinema.

The accident necessitated 17 stitches and two weeks in hospital. He seemed defiant, not vulnerable, at ease. As opposed to the multifaceted, buzzing hive usually behind the scenes at a catwalk show, of many people working in splendid isolation, here Mr Armani was the apex of activity. He tweaked a belt, adjusted a hem, calling to a wave of assistants that ebbed and swelled nearby. That ocean of bodies was next to another, the models; in the middle, Armani only — like Moses, parting that sea.

He was the only person that touched any model. He styled every outfit himself, sometimes placing accessories, more often removing. As the show commences, he stands a metre or so away from the exit to the catwalk. His are the last set of eyes to see every model. How can a fashion company continue without that kind of figure?

In the past, Armani has pointedly refused to speak of the future. No succession plans, no prospects for sales of the company, which Armani still not only heads creatively but also fiscally and is the sole shareholder. Presently, he has begun to open up… a little. He suggested a sale to an Italian company, one perhaps outside of fashion that could afford the multibillion-pound price his label would demand.

Ferrari has been floated. I wonder if the pandemic reset the way Armani saw himself and his world — the fragility of life is something, after all, that has been re-emphasised to us all. But shared notions of faultless elegance and excellence in construction across the three can certainly unite them. He pauses. I wonder what Armani wishes his to be. I would find it nice if my name would be remembered for something in 50 years that was associated to a certain type of style, a certain way of seeing life.

My legacy, I would like it to be beyond just clothes. That is important. Respecting people, with my clothes. These included television spots and enormous street ads, together with a house magazine that was sent out by mail to consumers, faithful Armani eaglet wearers.

Armani also felt that a relationship with the cinema was essential, both for promotional reasons and for the stimulus to creativity. He designed the costumes for American Gigolo , directed by Paul Schrader , the success of which led to a long-term collaboration with the world of film.

Armani designed costumes for more than one hundred films, one of the most important of which was The Untouchables , directed by Brian De Palma and released in In the designer modified his agreement with GFT.

They began to produce both the Mani line for the United States and his high-end ready-to-wear line, rechristened Borgonuovo 21, after the address of the company's headquarters. During the late s, despite Galeotti's death , Armani continued to expand commercial horizons and licensing agreements.

After the frenetic expansion of the s sportswear, eyeglasses, cosmetics, home, and new accessories collections , the year , the twenty-fifth anniversary of the brand, saw a flurry of investment activity, including stock sales and the acquisition of new manufacturing capacity intended to increase Armani's control over the quality and distribution of his products.

There is a common thread running through Armani's stylistic development that is closely associated with the change in contemporary society.

It led to the creation of clothing and accessories that aimed at a clean, simple style, beyond fashion, designed to enhance the personality of the person who wore it. When, in , the designer presented the first unstructured jackets for men, unlined and unironed, the product of years of experience in production design, they were intended to lower labor costs and simplify tailoring. But in introducing them Armani opened a third way in men's clothing, an alternative to the traditional approach of English tailoring and the expectations associated with Italian made-to-measure clothing, realizing an innovative synthesis between formal wear and loose, flexible sportswear.

With the invention of the blazer worn as a pullover, Armani offered men a new identity that rejected rigid professional divisions and allowed them to present themselves as young, attractive, and vaguely feminine.

Referred to as the "first postmodern designer," by several Italian newspapers, for his radically unstructured garments, Armani had simply softened men's wear and made women's wear more concise and modern, transforming changing social roles into an "Armani look," making the casual look authoritative.

Official recognition of his fame came in when he appeared on the cover of Time magazine, only the second fashion designer, after Christian Dior, to do so. Armani had freed women from their stiff suits, providing them with soft jackets without collars and with comfortable pants. Although initially somewhat severe, as if intended to assist women in their climb to professional credibility, these outfits greatly enhanced a type of femininity that, because it was not ostentatious, was ultimately more real.

Armani sought to establish an image of a woman who was strong but not harsh a mix of the film stars Greta Garbo and Marlene Dietrich in modern dress and who could be practical and indispensable as well as glamorous. Over time the jacket has continued to remain the centerpiece of the Armani wardrobe, changing year by year through the use of new materials, new proportions, and new colors.

For Armani the "greige" somewhere between gray and beige of remained the most typical element in a palette often centered on shades of white and black, soft earth tones, dusty blues, and occasional unexpected bursts of color.

The search for fabrics has always been one of the distinctive elements of Armani's collections for men and women, becoming a key design element in , together with embroidery and the return to evening wear that he brought about. Here the look was precious and exclusive but always in a minimalist key, demystified through the use of low-heeled shoes or sneakers. An attentive analyst of past cultures and Eastern influences, Armani's clothing has never been a collage of banal ideas.

Throughout his career he has always succeeded in providing new images of how men and women dress and in translating elegant, decorative patterns into a unique but accessible style. In , Giorgio Armani started the company with Galeotti.

Being a designer himself, Armani made apparel with his sense of aesthetics, beauty and luxury, a sense that appealed to the elite of the society. It is a privately held company with the founder Giorgio Armani being the sole shareholder.

With many sub-brands designed under the parent umbrella brand of Giorgio Armani to cater to the specific needs of different market segments, it has become one of the strongest fashion and luxury brands in the world.

The brand is built on 3 pillars: class, quality and exclusivity. Its product lines cover all corners of fashion, including apparel, swimwear, accessories, perfume, cosmetics, watches, eye wear, bags and shoes for men, women and kids.

Giorgio Armani is very expansive in Asia Pacific with its multiple future growth markets for luxury brands. For example, China is embracing premium fashion and luxury goods at an increasing pace, and Giorgio Armani has been one of the forerunners to exploit the market potential.

Unlike the usual practices of branding that are normally seen in the consumer goods industry, the branding philosophy in the fashion and luxury goods industry is quite unique and personality based. Most of the famous fashion houses like Christian Dior, Yves Saint-Laurent, Gucci, Versace and many others were built on the personality of the founders. As design is the most important ingredient of fashion and luxury apparel, the individual style of these designers becomes crucial to creating and sustaining the fashion brand strategy.

It is these unique designs and patterns that reflect the personality of their creator that gives an identity to the brand and helps to differentiate it from the crowd. The Giorgio Armani fashion house, like many other fashion houses, has been built primarily on the unique personality and identity of Giorgio Armani himself.

The brand takes on the identity of the founder through the designs created. Though this aspect of the fashion industry provides fashion houses with a strong sense of differentiation that can be conveyed in a tangible and visual form, it also poses a serious threat. Whenever a brand gains popularity and acceptance from its target customers in its core business, the next obvious step for the brand is to charter a new course by venturing into different product lines, different segments, and ever different markets.

This phenomenon seems common across industry sectors. Giorgio Armani with its iconic popularity amongst the elite of the society and the fashion literate segment of the market has followed similar steps by extending the brand. Today the Armani brand architecture encompasses one corporate brand and three sub-brands, each catering to different sets of target customers and at different price levels. The signature Giorgio Armani line: This is the main collection of very high quality classic apparel that consists of the signature Armani suits, Oscar gowns and so on, which are of the ultra-premium price points and essentially targeting consumers in the 35 to 50 year old age group.

Emporio Armani: Targeted especially at the young professional segment in the 25 to 35 year old age group, the Emporio Armani brand provides fashionable and contemporary designs that are relevant to the target customers. Milan and wore the number 7 jersey. It was created for everyone who loves exceptional style and wants to maximize their experience from sporting activity.

This fashion label caters to a wide range of sport including running, fitness, golf and winter sports. This serves as the ultimate testimony to the power of the brand. By providing the entire range of its apparels and accessories, Armani Exchange provides customers with the complete feel of the luxurious fashion of Giorgio Armani.

In , the Armani Group completed its 3-year streamlining transformation and has discontinued the following lines:. It offers gala and award-show wear including gowns and suits that are ultra-luxurious, exemplifying the understated chic that epitomizes the essence of the Giorgio Armani brand. This line is almost exclusively targeted at the rich and famous.

This basically caters to the segment of people who aspire to wear high quality Armani apparel but cannot afford the ultimate signature line, or to those who crave to add extra products to their existing portfolios. Armani Jeans: This is the lowest range of Armani apparel. This Armani brand is to the value segment what the signature line is to the premium segment.

Catering necessarily to the young adults in the 18 to 30 year old age group, the Armani Jeans collection provides a trendy yet fashionable and luxurious line of apparel. Armani Junior: This kids fashion brand was designed specifically for infants and children. The brand is best known for its sophisticated simplicity, sleek tailoring and classic colours.

Taking inspiration from the adult line, sumptuous materials and attention to detail are combined to create a collection which is synonymous with quality. Armani Junior : This kids fashion brand was designed specifically for infants and children.