Backstage the line-out stretched downstairs into the subterranean basement show space where the designer showed some of his very earliest shows throughout the 1980s and 1990s: to have even fleeting access here was a rare privilege indeed.
Once the last of the models had walked and Mr. Armani had taken his bow alongside his longtime collaborator Leo Dell’Orco—another unusual move—he lingered in a gazebo at the back of his garden to meet his guests.
No, I’m not going to tell you what film it was! But at the end when we were leaving there were two people sitting on the stairs selling things: my bodyguards asked them to move, but I was already going down and unfortunately I didn’t find the stair and I fell.
I don’t know where my ideas come from, but they come, and they’re different to everyone else’s… sometimes I’m scared that I’m too safe and that you won’t have enough to write, because I’m too banal… but with menswear you can’t have too much fun, it needs to have an allure that you can wear every day: we can invent, but not have fun with people.
Then I got too big and I had to move… but it is important to be able to see the clothes, and feel the cloth.
Finally, he was asked why the last five or so looks were shown by models who were also wearing face masks, even if the entire production crew had tested negative.
The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.