Jessica Chastain in A Most Violent Year, by J.C. Chandor 2014
Cate Blanchett in Hanna, by Joe Wright, 2011
Giorgio Armani tells The Edge Mag about his love for the big screen, his relationship with cinema and its protagonists. And about the certain challenges to face every time he “dresses” a film…
“I would like to emphasise that these were not costumes but outfits from my collection, sometimes in different colours. This principle is what I consistently follow because I am not a costume designer; that’s not my profession. I am a designer expressing myself through fashion.”
Giorgio Armani
Giorgio Armani, renowned for his iconic designs, has left an indelible mark on the silver screen. His journey into Hollywood began with the groundbreaking work on “American Gigolo,” where he famously outfitted Richard Gere. Since then, Armani’s influence has only grown, extending beyond fashion to include set decor through his Armani/Casa line. This venture reached new heights in the film “Paranoia,” directed by Robert Luketic and starring Harrison Ford, Liam Hemsworth, Gary Oldman, and Amber Heard.
Richard Gere in American Gigolo, by Paul Schrader 1980
From the start of his career, Giorgio Armani has drawn inspiration from the world of cinema, infusing cinematic elements into his collections. His designs have been influenced by classic Hollywood film noir and the sophistication of stars like Fred Astaire and Ginger Rogers. The Italian cinema of the 1950s, particularly Federico Fellini’s films, also played a significant role in shaping Armani’s world. His garments, such as flowing trousers and linen shirts, have become timeless classics inspired by the Italian way of life depicted on screen. Giorgio Armani’s journey in fashion is intrinsically connected to his love for cinema. His childhood memories of films have significantly influenced his sense of elegance, seamlessly bridging these two artistic worlds.
E.D.G.E.: When did your passion for cinema begin, and what is your favorite genre?
Giorgio Armani: My passion was ignited with my first visit to the silver screen when I was just eight years old. It was the epic fantasy film “La corona di ferro” directed by Alessandro Blasetti. The sumptuous and exotic scenes, as well as the beautiful actresses adorned in rich and sensual attire, left a profound impression on me, even infiltrating my dreams. I can’t claim a favorite genre. Over the years, I’ve witnessed hundreds of films and lent my expertise to a diverse array of cinematic productions. What captivates me is the art of storytelling through the medium of cinema.
Andy Garcia, Sean Connery, Kevin Costner and Charles Martin Smith in The Untouchables by Brian De Palma, 1987
E.D.G.E.: What goes into creating costumes for the cinema? Are there discussions with the director or actors?
G.A.: It’s always a dialogue, where the challenge lies in aligning my vision with that of the director and the characters’ personas because a film is not a mere runway show.
E.D.G.E.:: A milestone in Armani’s connection with cinema is ‘American Gigolo.’ What do you recall about that film and working with Richard Gere?
G.A.: It marked our first collaboration, one that developed organically and unintentionally served as a remarkably effective advertisement for my fashion. I had initially intended to outfit John Travolta, who had become a global star following ‘Saturday Night Fever’ and ‘Grease.’ However, Richard Gere ended up trying on one hundred looks since Travolta chose to star in ‘Urban Cowboy,’ leaving ‘American Gigolo’ to this relatively unknown actor. I’d like to emphasize that these were not costumes but outfits from my collection, sometimes in different colors. This principle is what I consistently follow because I am not a costume designer; that’s not my profession. I am a designer expressing myself through fashion.
Richard Gere in Primal Fear
Robert De Niro in Goodfellas by Martin Scorsese, 1990
E.D.G.E.: From Sophia Loren to Cate Blanchett: what common thread makes these two cinema icons special in the world of Armani?
G.A.: It’s always, as usual, about their personalities, expressed through a particular type of physical beauty that’s also about presence: sensual for Sophia and ethereal for Cate. Both are strong-willed women remembered for the energy they exude, which, to me, is the true definition of style and elegance.
Naomi Watts in Fair Game by Doug Liman, 2010
Cate Blanchett in Hanna, by Joe Wright, 2011
Jodie Foster in Elysium by Neill Blomkamp, 2013
Michelle Pfeiffer in I am Sam
E.D.G.E.:What’s your relationship with modern cinema and emerging directors?
G.A.: It’s an excellent relationship. I think of the new generation of actors, both Italian and foreign. What’s fascinating in dressing them is their distinct approach to fashion compared to the past. From Pietro Castellitto, Favino, and Luca Marinelli to the ever-loyal Margherita Buy, Matilda De Angelis, and newcomers like Regé-Jean Page, Maude Apatow, and Scott Eastwood – the spectrum is vast, and the nuances of style to explore are limitless. The same holds true for directors. I’m an incurable cinephile, curious about innovations, and proud of the outstanding work being done by certain Italian directors, including Paolo Sorrentino, Giuseppe Tornatore, Marco Bellocchio, Gabriele Salvatores, Mario Martone, and Matteo Garrone, whose ‘Dogman’ and the recent ‘Io capitano’ have greatly impressed me. Let’s not forget the new wave of talented Italian female directors like Valeria Golino, Valeria Bruni Tedeschi, Margherita Buy with an upcoming film, Kasia Smutniak, and Paola Cortellesi.
E.D.G.E.: Do you still attend the cinema?
G.A.: I greatly enjoy evenings at Cinema Anteo, which exudes an aura of old-world cinema, and its selection of films is exceptional. Although, I can’t deny that I often find myself captivated by television series where the attention to costumes and detail can be extraordinary.
