For the first time in the history of his House Coacher Perceptions, Georgio Armani was not physically present at his private show. Although he followed the show with his Milan house comfortably, where he was recovering after a brief illness, his presence was nothing but a distance, and every glance was shaking like a shine.
“In the 20 years of Armani Priyu, this is the first time I did not go to Paris,” he said via email. “This journey is an opportunity for me to absorb the energy of the city and to feel the adrenaline of exercises. I can’t deny that I miss it, but I know that I can trust the capable hands and minds that always live by me.
The word is, Armani sticks to his phone at a non -stop, and from a distance, he is fine with his team. Even a temporary competition of ugly has no chance against his infinite grip on his control. Only a slight collision on the road. To eliminate any doubts, Armani himself clearly presented it to him: “If I have yet to come, it is thanks to the Iron Focus and the fanatic attention with which I manage everything. And it has not changed. Although I was not in Paris, I have monitored every aspect of the show through the video link.
As the title of Nair Sudosant, the collection paid tribute to the eternal shadow of Armani for Syria, the velvet mystery of the night. The Silutes were lean and softly intense, gliding under the runway, as he described, “like ink lines, shining carefully without shining.” The masculine evening suit was re -imagined to confirm the longevity of its feminine appeal: high waist, thin black velvet pants were anchored pagoda arm, nearest sliced jackets and unprecedented, sculpting peaks were embellished with ornaments and contradictions. And while Armani is often praised as a master of prevention, here he allowed the theater to shine his mood in a roasted game of texture, where black was only worried about silver and gold. Securities, flower utilities, crystal studs, Velvet Antaria: a quiet mischief of surface talent, an oxymoronic combination, challenged the idea that Armani was a part of the heart.
In fact, he has been a rare kind with a rare kind: the kind of discipline that is so irreversible, it reads about mad tunnels. This, perhaps, is the secret of why its contradictory style resonates so firmly, especially at a moment in which fashion polish and intentions re -find the happiness of apparel, finds cool in foolishness, and such stylish commercialism is a focus of a fabric, and not just an agent for commercialism. Georgio Armani first arrived there, never played a catch -up by writing a blueprint. This is a fashion that is eventually trapped near it.
