The hallmark of Giorgio Armani is control. At 91, he remains not only creative director but also CEO and sole shareholder of the company he founded 50 years ago. I would say fashion company, but Armani today is much more than that. Yes it makes clothes – lots of clothes, from handcrafted, haute couture Academy Awards gowns (Armani Privé) through to trademark relaxed suiting (Giorgio and, for the less affluent, Emporio) down to jeans and T-shirts for the ragazzi. There’s also the beauty, the homewares and hotels, the chocolates and restaurants, even a floristry subdivision called Armani/Fiori, where nature itself is bent to Mr Armani’s exacting creative demands in abstracted and – yes – supremely controlled ikebana-style arrangements. He also sells the vases.
“My greatest weakness is that I am in control of everything,” says Giorgio Armani. He recently showed a rare chink in that armour: he was absent from the three fashion shows he staged in June and July due to illness. He is still rehabilitating at home, ahead of the planned 50th-anniversary celebrations that will take place at Milan fashion week in late September and where he will unveil an exhibition at the Pinacoteca di Brera – the first at this august museum to be dedicated to fashion. It’s in a convenient location: overlooking Armani’s apartment in the centre of Milan.
From afar, he still maintains an iron grip. “I oversaw every aspect of the show remotely via video link, from the fittings to the sequence and the make-up,” he promises. “Everything you will see has been done under my direction and carries my approval.” He apparently phoned to harangue staff for the late start of his Emporio Armani menswear show. It’s all, perhaps, indicative of his self-stated greatest strength: “The ability to believe in my ideas and the determination – sometimes the stubbornness – to carry them through.”
Giorgio Armani is more than a name in a jacket – or, to the vast majority, the name on a bottle of perfume. He was born in Piacenza, about 40 miles south-east of Milan; his father was an accountant for a transport company and pushed Armani into studying medicine, which perhaps accounts for his surgical precision and the fastidious cleanliness of his style. He worked as a buyer at La Rinascente department store in Milan and then as a menswear designer for Nino Cerruti. In 1975 he set up his own company with $10,000 seed capital, in a tiny office smaller than his current bathroom. “My goal in the beginning was to assert my vision and to dress people,” Armani says. “In some ways it’s still the same idea today.”
He once told me that his favourite designer was Gabrielle Chanel, and Armani style has had a similar impact on the way entire generations dress. He put women into a uniform of suits just as radical as Chanel’s, creating forceful, confident clothing that helped to power the working woman’s social revolution of the 1980s. By contrast, he relaxed menswear, deconstructing traditional tailoring in a manner that has affected how just about every suit in the world is made.
Armani has made billions: net revenues sat at €2.3bn in 2024. Mr Armani – as everyone calls him – still oversees all creative direction. “I don’t know if I’d use the word workaholic, but hard work is certainly essential to success,” he says. “My only regret in life was spending too many hours working and not enough time with friends and family.”
Armani was also one of the first fashion designers who saw dressing Hollywood celebrities – and the publicity this generated – as part of that job. He opened a VIP dressing office in Los Angeles in 1988, a good decade ahead of other fashion brands even beginning to realise the power of star endorsement. But Armani is more than just a red-carpet choice; he’s an active participant, a collaborator. He’s costumed more than 200 films across five decades, starting with American Gigolo in 1980 and including Brian De Palma’s The Untouchables (1987), Martin Scorsese’s Goodfellas (1990) and The Wolf of Wall Street (2013). Scorsese has even directed a short documentary, Made In Milan, examining Armani’s creative processes as an expression of his admiration for, and interest in, the designer.
Part of the appeal of Armani clothes for film directors is surely their timelessness, away from the constantly shifting, easily outmoded fashion of any particular day. Does he feel his designs are anti-fashion? “Although my mindset is far removed from the occasionally frenetic volatility of fashion, I don’t particularly like the idea of being labelled anti-fashion. Instead, mine is a stance in which style prevails over fleeting trends that change without reason.” The brand is doing swift business with vintage sellers too. “If what I created 50 years ago is still appreciated by an audience that wasn’t even born at the time, this is the ultimate reward,” the designer says.
He is probably the oldest working fashion designer in the world, and heads a complex and multifaceted empire. A question of succession, at this juncture, is inevitable. “My plans for succession consist of a gradual transition of the responsibilities that I have always handled to those closest to me,” he says, “such as Leo Dell’Orco, the members of my family and the entire working team.” Dell’Orco, head of men’s design for the Armani group, was the figure who bowed at Armani’s two menswear shows in Milan. “I would like the succession to be organic and not a moment of rupture,” he insists.
Although it seems hard to imagine Armani without Armani, it is still possible, says luxury goods analyst Luca Solca. “I think the Armani brand is larger than its creator and is likely to remain a mainstay in the fashion and luxury sector,” he says. “Other brands have survived their founders: think Chanel, Dior… I expect brands like Armani or Ralph Lauren will do the same.”
That said, who could truly take over? Armani’s vision has a breadth and depth that, arguably, is like no other, the singular vision of a single man. I have seen him working backstage, styling the models with his own hands. “My initial goal was to dress people but from there I moved naturally into other areas, because I wanted to offer those entering the Armani world a unique experience,” he says. “I have in fact created a lifestyle that I would define as a world of natural sophistication, in which nothing is over the top but everything finds a balance that, while whispered, is rich in personality.”
Incidentally, the Armani/Manzoni building in Milan – basically an all-Armani department store, including the Emporio Armani flagship, Armani Privé club and the Armani hotel – is built in the shape of a giant “A”. It was designed by Enrico A Griffini in 1937, so it’s more fortuitous than onanistic. Yet no other designer has a building like that. It’s quintessentially, unmistakably, irreplaceably Armani.
Richard Gere, actor
I don’t think I even owned a proper suit before I did American Gigolo. He probably taught the whole male world the joy of wearing a beautiful suit. Thanks, Giorgio.
Carla Sozzani, editor and gallerist
I first met Giorgio in the early days of his legend, beside [Giorgio Armani SpA co-founder] Sergio Galeotti; we became friends. Even then, there was a precision in him, a laser-cut clarity in the way he saw the world and his work. He has carved his own line through fashion with quiet defiance and the elegance of someone who always knew exactly what he was looking for and never compromised to find it. He has never wavered, never followed. He has moved through time by shaping it.
Paul Smith, designer
Mr Armani revolutionised tailoring for men and women from the ’80s onwards. His shapes, fabrics, colours and construction were all brand new and his continuity has been flawless. His staying power in remaining as an unlisted, independent company is exceptional and a real inspiration for me personally. And he has always been “hands on”. With great admiration – and appreciation for our friendship – congratulations!
Renée Zellweger, actor
Mr Giorgio Armani is synonymous with classic elegance. His vision has long shaped the timeless gold standard, as has his generosity of spirit and friendship. It feels a very lucky privilege to share in Mr Armani’s magic and inspiration to celebrate life’s memorable milestones.
Remo Ruffini, CEO of Moncler
What Mr Armani has built transcends fashion. He is a cultural icon. His creative vision has redefined elegance, transforming it from mere fabric and design into a personal expression of identity and lifestyle, a reflection of how we carry ourselves in the world. Rather than following trends, he has led and inspired them, staying true to his ideas for more than 50 years.
Ozwald Boateng, designer
In the ’80s, Armani completely revolutionised the suit with his deconstruction. Everyone was inspired by it. He was “the” guy; there were no other benchmarks. So when I was building my name in the ’90s, I thought, if I want to make headway in menswear, I need to define my language. My push was to put the structure back in. Mr Armani recognised what I was doing; there was a mutual understanding. I always had an incredible respect for what he achieved – to be both a creative and a businessman is very unusual. One of the things that blew me away when I interviewed him, some years ago now, was his laser focus. He had another office next to his office, a beautifully laid-out space, and it had all the magazines open to the pages of editorial that he would get. This was in the non-digital era when magazines were the base of everything. He was getting global press all the time, but he was always watching it and on top of it, he was always conscious of where his brand sat in every market, at any one time. His focus and attention to detail is everything – and his consistency in his creative language is unquestioned. It’s so easy to move: trends change, things move, you think, “Right, let me do something else.” But he’s understood what he does – and he is not moving for anyone. I once asked him, how does it feel to arrive at this place that you have arrived at, to have created this amazing brand? He said something like: “Just at the point when you understand what it’s all about, you run out of time.” It was an interesting answer to quite a profound question. His ability to still be him, to have the energy and passion at this point in his life, is truly remarkable. He has defined a look, and his name will forever be in history.
Jonathan Bailey, actor
You could blindfold me and I’d be able to tell you whether I’m dressed in Armani or not. It’s my go-to for louche luxe. I’ve grown up watching the movies he’s dressed and admiring the red carpets he’s designed for. Always elegant. Always sexy. Aspirational, desirable and quintessentially cool. To be invited to Milan and to see from the front row the craftsmanship and passion, while in that intimate Via Borgonuovo basement, was a momentous privilege. It’s a good sign when you learn that the team surrounding him has been there for years. Nurtured and allowed to thrive, they really are like a family. I’ve been made to feel incredibly welcome as their naughty little cousin.
Rick Owens, designer
I don’t think anyone has clocked how much I have ripped Mr Armani off – 1930s grey and beige languor in a concrete Italian rationalist setting with a generous shot of Jean-Michel Frank… His elegant continuity and quiet consistency are something I constantly keep an eye on.
Renzo Rosso, president of OTB group
Armani is the quintessential Italian icon – unwavering and consistent since the very beginning, thanks to Giorgio’s tireless daily work and devotion. Every time we meet he is incredibly kind and respectful. Despite belonging to different generations, there is a deep mutual appreciation for each other’s stories, journeys and visions. I once had the pleasure of spending a private evening with Giorgio in Milan, where we spoke at length about our worlds and our dreams. It was a truly special moment.
Laura Dern, actor
I feel that everything Giorgio Armani has gifted us with is not only iconic but emblematic of his love of women, their strength and their beauty… He was always a leader in helping us step into self-confidence and feeling empowered. A particular personal favourite is the black dress he made me for the 1990 Cannes Film Festival where our film Wild At Heart won the Palme d’Or. Sleek, sophisticated, edgy, rock ’n’ roll, but always with elegance and somehow always effortless: summed up, I was wearing Mr Armani’s genius. I loved this dress so much that at the 2020 Academy Awards, where he so generously designed another dress for me that I had the privilege of winning an award while wearing, I slipped back into my beloved 1990 black dress for the afterparties. He remains a hero and a legend to us all, but he also taught me a lot about myself through his designs.
Andrew Bolton, curator
I think of Mr Armani as the Chanel of menswear, in a way. By introducing the fluid suit in the 1980s, he promoted ideas of casual elegance – mixing formality with a relaxed sensuality – often through using lighter fabrics and removing the lining, the padding, in the suit. It was such a rebuff to the concept of power dressing at the time. As well as blurring the lines between formality and informality, he also blurred the lines between masculine and feminine, which was very radical. The first time I worked with him was in 2008, for the Met exhibition Superheroes: Fashion and Fantasy. Armani was the lead sponsor, and George Clooney and Julia Roberts were co-chairs of the event, alongside Mr Armani. They were incredible superstars, but Mr Armani was equal to the task! Standing in line, he was so gracious with the guests. And they were more excited to meet him than they were to meet George and Julia. He had such star power, such charm. I remember asking him who his favourite superhero was, and he said Superman. I thought that was very apt. He’s like the Superman of fashion.
Stella Jean, designer
Mine is not merely a fashion story. It is a story of silence and presence, of invisible generosity and transformative grace. A story that begins with an act of courage – not mine but Mr Armani’s. When I was invited to present my first-ever show at Milan Fashion Week under the patronage of Giorgio Armani, I became – without fanfare – the first Italian Black designer in the history of “made in Italy”, and simultaneously, the first Afro-descendant Italian member of the Camera Nazionale della Moda Italiana since its founding in 1958. That single gesture broke a barrier no one had touched before. I was told Mr Armani would not attend. Out of humility, they explained. His presence might cast too long a shadow over mine. Out of respect, he would remain absent. The day came. I presented my collection inside the Teatro Armani. The theatre was full. The press – global, curious, enthusiastic – filled every corner. The backstage area, by the end, was a sea of movement and excitement. I was mid-interview with Suzy Menkes when, suddenly, the usual backstage chaos gave way to an almost sacred silence. I turned to see what had caused it. From a quiet doorway, Giorgio Armani appeared. He made a small gesture, calling me over. He congratulated me warmly. I, stunned, asked: “But… how did you see the show if you weren’t there?” With a half-smile, he replied: “You forget – this is my home.” He had watched everything, silently, discreetly, choosing not to occupy the spotlight but to offer it. Years later, I would still be called “Armani’s protégée”, a title I carry with honour, pride and enduring gratitude. Because some men lead by presence. The greatest lead also by absence, by knowing when not to take space. That day, Giorgio Armani didn’t raise his voice. He raised history.
Aaron Taylor-Johnson, actor
When I first met Mr Armani, he took my hand and met my eyes with a deep, soulful, warm gaze. He made me feel like I was the only person in the room – everything and everyone else just melted away. Coupled with Mr Armani’s creative genius, he has a powerful and singular aura that emanates kindness.
Maria Grazia Chiuri, designer
Giorgio Armani’s work has always been a source of inspiration for me. I could say that I recognised myself in the way he managed to give both clothing and an attitude to women who, after the feminist movements, were demanding the chance to engage with the professional world but also with the dynamics of desire, on equal footing with men. Not a woman dressed as a man, but a woman who adopts the intelligent and functional formulas of masculine dressing. Now that I think about it, it has always been important for me as well to give women garments that help them become aware of who they want to be in the world. “Boyish” is a term I often use to describe my style. Starting from Armani, both masculine and feminine are not seen as categories that define two different body types or mindsets, but rather as dressing attitudes that no longer rely on the division between genders or their differences. Instead they productively blend the characteristics of both.
Elin Kling and Karl Lindman, Toteme co-founders
EK: Mr Armani redefined what elegance could be: precise, effortless and quietly powerful. His tailoring has shaped not just the body, but the way people want to move through the world and it’s still relevant now, 50 years later.
KL: Few brands have achieved what Mr Armani has – a world built with such clarity, discipline and distinction. It is a benchmark for all of us who are building something to last.
Naomie Harris, actor
Every time I wear Armani, I feel empowered in the most elegant, authentic way. For the 2017 Golden Globes, Armani created a custom gown for me – sumptuous silk satin, hand‑embroidered with crystals. It wasn’t just a dress; it was artistry, love and confidence woven into one. I’ll never forget lying flat in the car to protect those delicate details. That moment captured everything Mr Armani represents to me: impeccable craftsmanship, deep respect for women, and a kind of beauty that speaks in whispers, not shouts. To wear Armani is to wear art – and to feel truly seen.
Jo Sykes, designer
My time at Armani at the beginning of my career was so formative. I was there full-time for three years then freelance for three years; it was the best training I could have asked for. Mr Armani set an entire precedent for comfort in tailoring, a new way of androgynous dressing. He had an incredible vision and he signed off absolutely everything, right down to the kidswear line. He styled his own shows and advised on the make-up and hair. There was nothing that wasn’t important enough. What I learnt from him that set a benchmark for how I design today is the importance he placed on beauty and quality. More than price, more than anything else, he believed that if you got the beauty and finish of a product right, everything else would follow.
Donatella Versace, designer
Happy 50th anniversary, Giorgio! Gianni and I had the utmost respect for Mr Armani. We always admired how he built his business, his clarity of vision and his success. When Gianni died, Mr Armani was incredibly supportive of me personally and I will be forever grateful. He is a global icon of elegance and class and defines the meaning of the word “gentleman”.
Daniel Craig, actor
For 50 years, Giorgio Armani has straddled fashion like a colossus. Mr Armani’s timeless styles ensure his creations will endure forever.
Giancarlo Giammetti, co-founder of Valentino
Giorgio has been my friend for years! Since the time of Mare Moda Capri [the Valentino show held in Capri in 1968] we became closer and our respect for each other has grown year by year since then. I remember that at one [1995] show in Piazza Navona in Rome where we were both participating, I saw that Armani had many dresses ready to be shown, many more than ours… Giorgio said that to equate one Valentino dress he needed to show three of his. This was sweet, although of course not true. Giorgio Armani has changed everything in fashion: the way to show it, the stores in his colour and materials. But what I admire the most is the consistency! The fidelity to his own style, not letting himself be influenced by the press or by the buyers: this is the secret of his eternal success.