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trendyclassicandvintage · 5 years

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Buon Compleanno (Happy Birthday) Giorgio Armani!

Source: Armani, Giorgio, Evening Dress, Fall 2007, Italian, Swarovski crystal rhinestones as well as beads, on silk in the color silver. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at FIT.

To celebrate Giorgio Armani’s birthday, as detailed in the biography of the Italian fashion designeri on Biography.com, I will discuss some of my favorite womenswear creations and collections, that he has produced thus far.

1. From the earlier years of his business, one of my favorite looks is this suit from 1979 (linked here), which is from the Metropolitan Museum of Art, in New York. When one looks at wrap garments, be it a wrap dress, made famous by Diane von Furstenberg, or top, they tend to give off the feeling of comfort. Seeing this wrapped feature utilized in this womens suit gives an otherwise structured garment, a welcoming ease to it’s styling. In today’s world, the jacket of this suit could work in the boardroom and could also be suitable for a formal night out, when presented in other fabrications. As one who is not a huge fan of pants, I could see myself motivated to wear pants, if I had a blazer in black that had this silhouette and fit.

2. As someone who enjoys looking at historical fashion garments, I found the look seen at the left during the 3 minutes and 36 seconds mark of this video (linked here), to be one that I highly appreciated. When I first glance, I began to ponder what the jacket reminded me of, and I realized it reminded me of the riding habits styles of the 1700s-1900s, demonstrated in examples provided next, linked or provided here, from the Metropolitan Museum of Art . For comparison, look at these examples from the Met that date back to 1760, 1875, 1890, 1897 and the 1900s, and you find that apart from a more skin-baring neckline and streamlined shoulders, they are very similar in silhouette. While I am not a huge fan of modern athleisure clothing, I have always had a fondness for the riding habit, which is an example of early sporting attire, as detailed by the Metropolitan Museum of Art. While Giorgio Armani was quoted in an interview featured in “Life of a Star: Giorgio Armani Designer” from Art in Fusion’s YouTube Channel, for not wanting to pitch older clothes to a new generation, he does seem to have the ability to take past silhouettes, as demonstrated with this example in particular and discussed within the same video, and freshen them up for the current era.

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Video Source:

Art In Fusion YouTube Channel

Source: Riding Coat, 1760, British, Medium: Possibly Wool or Silk and Goat Hair (The listing showed several examples), Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/81754.

Source: Riding Habit, 1875, American, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/107613.

Source: A.F. Müller New York, Riding Habit, 1890, American, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/107074.

Side Note:

For a collection, that more definitive and deliberate references and explores the concept of riding habits, as detailed by Sarah Mower for Vogue.com, check out John Galliano’s Spring 2010 Couture collection for Christian Dior.

3. In my next favorite look by Giorgio Armani, for his Armani Privé Fall 2005 Couture collection, my appreciation for this look is all about the details. I am highlighting the jacket in this example, as it is the piece that stands out to me. For many designs sometimes the closures on a garment can play second fiddle, so to speak, in comparison to the rest of the look. However, in this peplum jacket, the rosette closures provide a sense of softness amongst the exquisite tailoring. Additionally, the jacket’s silhouette proves that finessed tailoring isn’t just for menswear. Another reason that this jacket is one of my favorites is that it is timeless. I could totally see this jacket as one that could be passed off as a historical piece in period drama. However, at the same time, this piece could also fit into the current Dynasty reboot.

4. In terms of collections, the couture collection from the Fall 2006 season stands out to me. There is some playful experimentation within this collection. In this collection there are jackets that play with contrasting textures. There are also neat sculptural details that provide further dimensions to otherwise uniform and classic pieces. Pleats are a detail that are explored in this collection. Look 2, is one of the collection’s highlights in my opinion. The pleats within this coat and the ease of the sleeves provide a sense of fluidity, while the collar provides a kind of focal point.

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For look 2, from the Fall 2006 couture collection, see the 45 second mark of the video above.

Video Source: Fashion Channel, YouTube Channel

5. Finally, another look that grabbed my attention was look 9 of the Spring 2007 couture collection. This coat makes a strong case for asymmetry and how well it can flatter the female form. The tie closure of this coat, which closes on the right side of the image, provides a sense of balance with the asymmetric collar, as illustrated in Fashion Illustration Concept to Creation by Steven Stipelman. The coat’s fabrication is fluid enough to provide the ease required by the garment’s asymmetry, while is solid enough to provide some structure to this look.

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For look 9, from the Spring 2007 couture collection, see the 1 min and 6 seconds mark of the video above.

Video Source: FashionTV, YouTube Channel

To conclude, while these were my personal favorite creations by Armani, I would love to hear about your favorite pieces and shows. Feel free to discuss your favorites in the comments section.

Works Cited and to Consult for More Information:

Articles:

Biography.com Editors. “Giorgio Armani Biography.” Biography, A&E Television Networks, 18 Apr, 2019, https://www.biography.com/fashion-designer/giorgio-armani, Accessed 7 July, 2019.

Mower, Sarah. “Spring 2010 Couture : Christian Dior.” Vogue, Condé Nast, 24 Jan. 2010, https://www.vogue.com/fashion-shows/spring-2010-couture/christian-dior#coverage, Accessed 11 July, 2019.

Metropolitan Museum of Art Editors. “Riding Coat, ca. 1760.” The Metropolitan Museum of Art, n.d., https://www.metmuseum.org/art/collection/search/81754, Accessed 11 July, 2019.

Book:

Stipelman, Steven. Illustrating Fashion: Concept to Creation. 3rd ed., New York: Fairchild Books, 2011

Television:

Savage, Stephanie, Josh Schwartz, and Sallie Patrick, creators. Dynasty. Richard & Esther Shapiro Entertainment, 2017- Present.

Videos:

“Life of a Star: Giorgio Armani Designer,” YouTube, uploaded by Art in Fusion 13 Feb. 2015, https://www.youtube.com/watch?v=yELc8UqeS7w&t=12s, Accessed 10 July, 2019.

“ARMANI PRIVE’ Fall Winter 2006 2007 Haute Couture Paris -Fashion Channel.” YouTube, uploaded by Fashion Channel, 7 Aug. 2018, https://www.youtube.com/watch?v=0PFL2qXNZ3U, Accessed 11 July, 2019.

“Fashiontv- FTV.com- Giorgio Armani PRIVE Haute Couture s/s 2007,” YouTube, uploaded by FashionTV, 10 Apr. 2010, https://www.youtube.com/watch?v=yViO1VSC0wg, Accessed 11 July 2019.

“Diane Von Furstenberg on the Iconic Wrap Dress - Matchesfashion.com,” YouTube, uploaded by MatchesFashion.com, 26 Nov. 2014, https://www.youtube.com/watch?v=r6KoBDpbfNE, Accessed 11 July, 2019.

Images/ Looks and Collections Referenced:

FIT Image: Armani, Giorgio, Evening Dress, Fall 2007, Italian, Swarovski crystal rhinestones as well as beads, on silk in the color silver. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at FIT.

Met Image 1: Armani, Giorgio, Suit, 1979, Italian, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/80423.

Met Image 2: Riding Coat, 1760, British, Medium: Possibly Wool or Silk and Goat Hair (The listing showed several examples), Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/81754.

Met Image 3: A.F. Müller New York, Riding Habit, 1890, American, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/107074.

Met Image 4: Riding Habit, 1875, American, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/107613.

Met Image 5: Frederick Loeser & Company (Department Store), Riding Habit, 1897, American, Medium: Wool, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/159028.

Met Image 6:

T. Miller & Sons Riding Habit, 1900s, American (New York), Medium: Wool, Cotton, and silk, Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/107074.

Runway Looks and Collections:

Armani Privé Runway Collection, Paris, Fall 2005 Couture, Look 1,

https://www.vogue.com/fashion-shows/fall-2005-couture/armani-prive/slideshow/collection#1, Accessed 11 July, 2019.

Armani Privé Runway Collection, Paris, Fall 2006 Couture, Looks 1-49,

https://www.vogue.com/fashion-shows/fall-2006-couture/armani-prive#collection, Accessed 11 July, 2019.

Armani Privé Runway Collection, Paris, Fall 2006 Couture, Look 2,

https://www.vogue.com/fashion-shows/fall-2006-couture/armani-prive/slideshow/collection#2 , Accessed 11 July, 2019.

Armani Privé Runway Collection, Paris, Spring 2007 Couture, Look 9, https://www.vogue.com/fashion-shows/spring-2007-couture/armani-prive/slideshow/collection#9, Accessed 11 July, 2019.

Christian Dior Runway Collection (Designed by John Galliano), Paris, Spring 2010 Couture, Looks 1-4 and 6-8, https://www.vogue.com/fashion-shows/spring-2010-couture/christian-dior#collection, Accessed 11 July, 2019.

#birthday #giorgioarmani #fashion #italy #couture #@giorgioarmani #@museumatFIT

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memoistore · 4 years

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Cate Blanchett’s Top 10 Red Carpet Moments In Armani Privé Since 2010

Cate Blanchett is known to wear a lot of Alexander McQueen, Roksanda, Maison Margiela, Givenchy and Schiaparelli, but the one designer label we closely association the Australian actress is Giorgio Armani.

Armani Prive to be precise.

So here is a look at my top 10 Cate Blanchett x Armani Privé favourite looks since 2010.

Front Row @ Armani Privé Fall 2011

You may feel that this red suit isn’t oozing with glamour, but what it may lack in glamour, it doubles up in sophistication. That’s what I instantly think of when it comes to Armani – sophistication. I love how the cuffs gave this look such a modern vibe.

2013 AACTA Awards

Cate was kinda a roll when it came to red Armani Privé looks. Her bold, body-hugging gown from Armani Privé’s Spring 2009 collection, covered in bright red sequins, was shining brighter than the carpet itself.

2014 Golden Globe Awards

When is Cate at her best? When she’s giving us modern-old-Hollywood glamour. This is Cate’s brand of sexy sophistication. It’s not loud. It’s not in your face, but it does make you go weak at the knees. Cate loved this dress so much she recycled it in 2018 for Cannes Film Festival.

Giorgio Armani Celebrates Martin Scorsese And Paolo Sorrentino (2014)

This Armani Privé Fall 2012 colourful jumpsuit also had a second outing in 2019, but I loved the simple makeup and shorter hair presented with this look.

2014 Oscars

This nude Armani Privé Fall 2013 dress could’ve been a huge risk had the colour washed Cate out, but some were less concerned with that, as they felt that this dress didn’t stand out as Elie Saab, Marchesa and Zuhair Murad create these style of dresses by the dozen each season. But I felt that Cate was a vision on the night. It was yet another example of old Hollywood glamour, with a touch of modernity. And those earrings were to die for. It’s not easy to stand out in a nude dress, but she did.

Cannes Film Festival Chopard Party (2014)

This is easily in my top 3 favourite Cate Blanchett looks of all time. Along with her Christian Lacorix Haute Couture and her black Givenchy Haute Couture Berlinale gown (which I always reference). The order changes consistently, but in this list, it is by far my number one. From the Asian influences, the colour, the shimmer, and makeup which complements the roses, this was simply breath-taking.

‘A Star Is Born’ Venice Film Festival Premiere (2018)

This Armani Privé Fall 2018 dress is a close second. No one was able to match this level of glamour and sophistication at this festival.

‘Suspiria’ Venice Film Festival Premiere (2018)

Some might feel that was too close to the former, but the other was charming, but this takes on a whole new persona. One that is fearless, strong and uncompromising. I love the energy oozing from this look.

‘Joker’ Venice Film Festival Premiere (2019)

The fact I can add this to my lists while still not loving this hairstyle is a glowing testament of Cate both as a style icon and ambassador for the brand.

The Fashion Awards 2019

After a lot of black Armani Privé dresses, the Australian actress gave us a rare whimsical moment at the Fashion Awards. Had I viewed this from the back, I would’ve assumed the wearer was Elle Fanning, as this dress sits firmly in her favoured colour palette, but Queen Cate was shining brightly on this jam-packed red carpet.

Which Was Your Favourite Cate Blanchett Armani Privé Moment?

Front Row @ Armani Privé Fall 2011

2013 AACTA Awards

2014 Golden Globe Awards

Giorgio Armani Celebrates Martin Scorsese And Paolo Sorrentino

2014 Oscars

Cannes Film Festival Chopard Party

‘A Star Is Born’ Venice Film Festival Premiere

‘Suspiria’ Venice Film Festival Premiere

‘Joker’ Venice Film Festival Premiere

The Fashion Awards 2019

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jinnaloves · 7 years

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THE 2017 OSCARS: BEST DRESSED

Kristen Dunst in Christian Dior Hailee Steinfeld in Ralph & Russo Jessica Biel in Kaufman Franco Priyanka Chopra in Ralph & Russo Brie Larson in Oscar de la Renta Olivia Culpo in Marchesa Viola Davis in Armani Prive Karlie Kloss in Stella McCartney Ruth Negga in Valentino Emma Stone in Givenchy Haute Couture by Riccardo Tisci Nicole Kidman in Armani Prive Charlize Theron in Christian Dior

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chelseatextilefei-blog · 8 years

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Theory Lecture: Globalisation Task

Read: Barker,C.(2008)'A New Wolrld Disorder?' in Cultural Studies: Theroy and Practice Sage, pp. 141-147.

There has been much discussion of whether globalisation in fashion industry makes world where everything looks the same or more creative expression. As fashion becomes more globally, designers may find difficult to maintain their characteristic and avoid become homogenisation (Zhang, 2015). However, Blakley (2010) shows that global fashion design changes by the hybrids cultures, and designers from different backgrounds to share and create new fashion trends. While, the world becoming smaller, the pace of change in fashion is increasing, it has become more heterogeneous in postmodernism fashion (Berger, 1998, p. 194). This essay will demonstrate that sharing of ideas and cultures creating a greater range of expression; because of globalization, different cultures have become hybrid and more design opportunities have been produced, which also influenced by postmodernism. In order to demonstrate this, first, it will be shown that globalisation cause the fashion product becoming homogenisation. Then will present that globalisation allow the designer to exchange the experiences and ideas more fluidly in the multicultural environment. Finally, it will describe that the globalisation of fashion encourage within the local context as the impact of postmodernism.

One reason of the world where everything looks the same, may because of the designer in fast fashion brands to create homogenisation low-cost collections that was inspired by high-fashion brands, then sale in stores around the world, it made people living in different countries but wearing same clothing. It is because fast fashion brand refers to clothing lines that produce, package, and distribute the most up to date fashion trends, as quickly as fast food (Lee and Elena, 2011, pp. 76-90). For example, the biggest fast fashion company Zara, its collection in 2014 was inspired by Christian Dior, Balenciaga, Celine and Kenzo’s 2014 spring and summer collections, and its collection came early then all high-fashion brands (Rickey. 2014). Although globalisation has had contributed to the homogenisation in fashion industry from international fast fashion brands, like H&M (Steele, Melissa and Susanne, 2015). Lea-Greenwood (2013. p. 143) reports that H&M considered a global fast fashion brand as it trades around 2200 stores in over 40 countries, seen people live in different countries, also can buy a same clothing in different H&M stores. According to Blum and Ibbetson (2015. pp. 498-500), fast fashion is showing an agility of anything new in the fashion trend. Indeed, the increasing size of homogenisation of fast fashion industry makes the base of global fashion market similar (Bruce and Lucy. 2006. pp. 329-344). Therefore, it is clear that the problem of the homogenisation formulate by fast fashion makes the global market comes to the same.

However, global fashion industry do not only include the fast fashion, but also have other high-fashion brands and individual designer companies, their branding strategy should not be inspired by each other, but create from different their cultures and ideas; these group of brands are giving customers more options. It is difficult to show the same fashion trend in fashion week by different leading brands, each brand have different branding strategies that makes the great range of option in this market. For example, Vivienne Westwood has a strong brand identity that has the 1970s punk era, with historical twists throughout designs (Posner, 2011). Menkes (2013) point out that designer in high-fashion brand should have to embrace different cultures, which makes more choice of the fashion trend for next six months. Giorgio Armani’s high fashion style in his Armani Prive collection in 2013 summer, designer was inspired by different cultures and fabrics, such as mélange of fez hats, also Middle Eastern dresses over pants and batons wound with fabrics in Egyptian, Indian and Turkish (Menkes, 2013). It is true the leading brand produce more options within the multicultural condition, which as result of globalisation.

Furthermore, there is possible connection between postmodernism and fashion industry that create the heterogeneity and multiformity of global fashion market. According to Irvine (2013) postmodernism interpreters of cultural hybrids that emerge from mix the categories of “high” and “low” cultures, and develop in regions the local identities seek definition against. At the end of the twentieth century, Galliano’s fashion collections often created from different cultures, such as the human tableaux set in Turkish harems, Cairo markets and Hindu temples, or dance spectacles with snake charmers and Indian pipes (Evans, 2003, p. 29). Designers use all ideas or cultures are not original, as Twain (1903) points out, “substantially all ideas are second hand, consciously or unconsciously drawn from a million outside sources.” but they recreate it to their own styles, that could help the fashion industry comes more diverse. Miuccia Prada, who is a well know Italian fashion designer, one times when she went to a vintage store in Paris, she bought Balenciaga jacket, then replicate it for her own style (Blakley, 2010). Additionally, popular culture cross the subculture invented the postmodernist fashion become more creativity (Davis, 2007. p. 18). For instance, one breathtaking couture spring and summer 2014 show from Maison Martin Margiela, which was not only a showcase of craftsmanship and inventiveness but it was influence from something of a love letter to vintage (Blanks, 2014). This clearly demonstrates that postmodernism inspired the global fashion industry according to their local context becomes more diversity and multiformity; it is also create great range of fashion market.

In conclusion, this essay has attempted to demonstrate that sharing of ideas and cultures creating a greater range of expression; because of globalisation, different cultures have become hybrid, more design opportunities have been produced, which also influenced by postmodernism. Indeed, global market became similar because the fast fashion industry has been homogenised. It is also true that leading brands has been created by multicultural condition, which created more options. Globalisation of fashion industry encourage local context as the impact of postmodernism, it become more diversity. Globalisation causes the fashion industry and it will become to more creativity by the hybrid cultures and part of postmodernism effects, which will not only influence the leading brands but also permeate to fast fashion brands.

References

Berger, A. A. (1998). The Postmodern Presence: Readings On Postmodernism In American Culture And Society. p. 194. London. Walnut Creek. Blakley, J. (2010). "Transcript Of "Lessons From Fashion's Free Culture". Ted.com. Available at: https://www.ted.com/talks/johanna_blakley_lessons_from_fashion_s_free_culture/transcript?language=en#t-51278 (17 Aug. 2016). Blanks, T. (2014). “Spring 2014 Couture Maison Margiela”. Available at: http://www.vogue.com/fashion-shows/spring-2014-couture/maison-martin-margiela (17 Aug. 2016). Blum, J. and Ibberson, S. (2015). "Rihanna In The Right Place At The Right Time: Rihanna V Topshop Passing Off Ruling Upheld". Journal of Intellectual Property Law & Practice 10.7: pp. 498-500. Available at: http://jiplp.oxfordjournals.org/content/10/7/498.abstract (17 Aug. 2016). Bruce, M. and Lucy D. (2006). "Buyer Behaviour For Fast Fashion". Journal of Fashion Marketing and Management: An International Journal 10.3: pp. 329-344. Available at: http://www.emeraldinsight.com/journal/jfmm (17 Aug.2016). Davis, K. C. (2007). Postmodern Texts And Emotional Audiences. p. 18. West Lafayette, Purdue University Press. Evans, C. (2003). Fashion At The Edge. p. 29. New Haven: Yale University Press. Lea-Greenwood, G. (2013). Fashion Marketing Communications. p. 143. West Sussex: Wiley & Sons. Lee, J. and Elena E. K. (2011). “The US And Japanese Apparel Demand Conditions: Implications For Industry Competitiveness”. Journal of Fashion Marketing and Management: An International Journal 15.1: pp. 76-90. Available at: https://www.researchgate.net/publication/235271141_The_US_and_Japanese_apparel_demand_conditions_Implications_for_industry_competitiveness (17 Aug. 2016). Menkes, S. (2013). "A Playful Mix Of Cultures". Available at: http://www.nytimes.com/2013/01/24/fashion/24iht-farmani24.html?_r=0 (17 Aug. 2016). Posner, H. (2011). Marketing Fashion. 1st edn. London: Laurence King Pub. Steele, V. Melissa, M. and Susanne, B. (2015). Fashion Underground. London: Yale University Press. Irvine, M. (2013). "The Po-Mo Page: Postmodern To Post-Postmodern". Available at: http://faculty.georgetown.edu/irvinem/theory/pomo.html (17 Aug. 2016). Rickey, M. (2014). "HMMM... ZARA SHAMELESSLY COPY EVERY MAJOR FASHION PLAYER - Fashion Editor At Large". Available at: http://www.fashioneditoratlarge.com/2014/03/zara-copying-dior-balenciaga-prada/. (17 Aug. 2016). Twain, M. (1903). "All Ideas Are Second-Hand: Mark Twain On Plagiarism And Originality, In A Letter To Helen Keller". Available at: https://www.brainpickings.org/2012/05/10/mark-twain-helen-keller-plagiarism-originality/Web. (17 Aug. 2016) Zhang, K. (2015). “How Does Japan Prevent The Homogenization Of Fashion? – Shift London”. Shift London. Available at: http://shiftlondon.org/fashion/japan-prevent-homogenization-fashion/ (17 Aug.2016).

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