Armani’s clothes—whether a man’s nubby tweed jacket with a back flap like a game warden’s or a woman’s gray suede greatcoat cut with playful severity—are not meant to be like those magic cloaks that, once donned, whisk the wearer off into fairy-tale deliriums. They are clothes for the exalted everyday, not intended to suggest a masquerade. This leads some, like Elio Fiorucci, guiding light of the trendy boutiques that bear his name, to suggest that “Armani’s clothes for women are overserious and not for the many women who like to have fun.” The fun that is there, however, is usually sly and (like the military wrist warmers hidden inside the cuffs of his oversize sweaters) often functional as well.
Armani means his clothes to be worn in different combinations for different effects. There is no set Armani mood, just as there is no consistent Armani image or typical Armani customer. “I don’t have in mind either a tall person or a short person, ugly or beautiful, jet set or middle class,” Armani says. “I aim at a client who dresses from individual choice, not imposed fashion, and not simply because something was designed by Armani.” Snaps Bergé: “I’m in the fashion business, and even I can’t tell you what an Armani man or woman is.” That is just the point. The fact that it got past Bergé so easily may indicate that the Saint Laurent enterprise has lost its sure touch with a significant—and significantly younger—portion of the market, newly moneyed and sartorially independent, who do not want “a look.”
If there is a consistency in Armani, it is one of adventurousness and quality. If there is a trademark—besides those winged initials that work their way onto the backs of his jeans, the loops of his leather pants and entirely too many other places—it is the tailoring. This means not only the standard of craftsmanship but, more generally, the look, shape and fall of a garment. English Designer Bruce Oldfield maintains, “Men’s wear hasn’t looked back since Armani dropped the lapels and made the softer tailored look.” Says another English designer, David Emanuel, who with his wife Elizabeth whipped up the Princess of Wales’ wedding dress: “I feel good when I put on an Armani jacket because the cut and balance are right. So easy, stylish, uncluttered. His distinguishing mark is clearly his tailoring.” Adds the innovative American designer Norma Kamali, “I don’t know a lot about Armani. But when I say to a guy he looks great, 99% of the time it’s Armani he turns out to be wearing.”
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