To understand the climate of emotion and participation that was breathed during the Armani Privé show, it is worth the long thought that Giorgio Armani has entrusted to the press and his guests, who came, as usual, from all parts of the world. «If I have come down to here it is for the iron concentration and the obsessive attention with which everything is checked. I’m doing it even now. Although not in Paris hosagitous and cared for remotely, in video connection, every aspect of the parade, from fitting to sequence and makeup. What will be seen has my approval and my signature ».
«In twenty years of Armani Privé, it is the first time that they are not in Paris. During these trips I breathe the energy of the city, I take care of the adrenaline of the tests. I miss all this, I don’t deny it, but I know I can count on the collaboration of capable hands and minds, at my side always. I was able to follow the advice of doctors who, although I felt ready to leave, suggested to prolong rest ».
So among the frescoed halls of Palazzo Armani, in Rue François 1er, the high fashion collection for autumn winter 2025 2026, has come to life from the slow and cadenza pipeline of filiform models for physical and for construction of long, subtle silhouettes, made even more unreachable by the momentum that only the contours of the black color can give. And this chromatic and graphic absoluteness was the aesthetic and identification figure of the whole story of Armani Privé. Night, seductive, impalpable for the choice of fabrics, starting with the chiffon velvet to finish the metal thirst, the collection once again explores the dialogue between female and male, offering a reinterpretation, declined in different ways, of the tuxedo and the tag. The sculptural jackets, the super drawn shoulders, the squeezed lives make the rest. But to hit the imagination, with references to the cinema and the elegance of other eras, are the long, indeed long, sinuous, enveloping, seductive clothes sometimes winking with their necklines, the I see games I do not see, with the papillon stolen from the male wardrobe played down in the proportions and in the play of light.
“I imagined long, absolute silhouettes, who move on the catwalk as signs of ink and that shine in a discreet way, without blinding”. So the Master concludes and we are grateful to him.
