Milan Menswear: a changing of guard and gears at Giorgio Armani

There was a changing of the guard and of gears at Giorgio Armani Monday morning, as Leo Dell’Orco presented a smooth and chic debut collection for the house, the final important show of Milano Uomo Moda.

 
The collection was the first not designed for the house by eponymous designer Giorgio Armani, who passed away in September last year.
 
Inevitably, Dell’Orco, Giorgio Armani’s right-hand man for the past four decades, sent out a collection that was hyper respectful of the master’s DNA. Yet he still added his own imprint to a signature collection that featured over a dozen women’s looks that practically matched the menswear designs they marched beside.

Leo also upped the pace of the show, which was no bad thing, and concentrated on what the house of Armani does best- impeccable, fluid tailoring. Most notably with some excellent jackets and blazers. Varying between one-button blazers with elongated shawl lapels made in the house’s signature non-colours of mud, cement, or wheat. To five-button Nehru jackets, again riffing on old Giorgio favourites- from zig zag pattern to waffle style. Paired with forgiving tapered pants that nipped at the ankle it all made for a very flattering silhouette.

 
Leo did break new ground in terms of colours, showing some great olive green or amethyst velvet shirts, pinstripe jackets and coats- for men and women. Along with superb silk mandarin jackets in dashing Colombia blue. While Giorgio’s love of Asian design was remembered in a great series of silk shirts with high smoking collars.
 
A change of guard also on the board, where recently appointed members John Hooks and Marco Bizzarri sat smiling in the audience.
 
“It feels emotional to be back after 15 years,” commented Hooks, the house’s managing director for a decade until 2011. While a beaming Bizzarri predicted: “expect an exciting 18 months at the house of Armani.”
 
As noted, under the terms of Giorgio Armani’s will, the childless late designer left instructions that his heirs sell 15% of the house within 18 months of his death. And then a further 35% to 54.9% to the same buyer.

 
However, after watching this show, one got the distinct impression that no one in Armani is in any great hurry to sell.
 
Clearly enjoying his new role, Dell’Orco took a few risks with his choice of coats, showing dramatic double-face slate grey topcoats with funnel necks, or the sleekest meeting of a chauffeur’s tunic and long coat in putty grey. One could sense the models loved wearing them, too.
 
In another marked change, the models appeared quicker and marched faster in two morning shows, held in the famed Armani show-space in the basement of Giorgio’s personal palazzo on central Via Borgonuovo. 
 
The collection and show did lose focus towards the finale, with some odd knits and a good deal or repetition. It lacked the ruthless self-editing for which King Giorgio was famous. But overall, this felt like a successful passage into a new era, and a win for the house.

 
In a generous gesture, Leo took his bow with his nephew Gianluca Dell’Orco, a design director for menswear.
 
Bowing, smiling, and ebullient- aided by the galactic funk and gentle techno soundtrack, including Evolver by AstroMat. Armani soundtracks traditionally had been one of Leo Dell’Orco’s responsibilities. 
 
And one could not help to chant during the show “Ashes to Ashes,” the traditional refrain at funerals, suggesting there is a future life immortal in heaven.