The first thing that popped in my mind, as I entered the Armani Silos on a rainy Saturday morning during Milano Fashion Week was: Why didn't he do this earlier? How could he have waited forty years? At Silos, Giorgio Armani shows us a glimpse of his world, an aesthetic approach to a wardrobe that hasn't changed much over the years. But what a place. And honestly? What a world... I may often be quite critical when it comes to his fashion shows in Milano, but whoever walks through the Silos can only be respectful. For Armani certainly worked very, very hard to bring about a vast and timeless collection, a vision on fashion that can only be applauded.
The Armani Museum (we could easily call it that way) sits in what used to be a place for storing cereals. Spread over 4500 quare metre, good for four floors, here's a unique selection of his creations, divided into themes, going from Stars to Daywear to Exoticism to Colour Schemes to Light.
Some people start a museum tour on the top floor, but I didn't and I'm happy I didn't: it's all about wedding dresses and layers and layers of sheer fabrics. Here is a floor full of jewel-like garments, mysterious and elegant at the same time. I liked it a lot, but for me it's not the essence of Armani.
I started downstairs, in the first 'salon', watching a short movie, full of pictures of Armani at work, and was astonished to see the clearcut directions he gives to the people he works with. Here's a perfectionist at work. Someone who tries his best at everything. And the result needs to be perfect. Always.
Then came a crucial part of his work: Armani's connection to film and to film stars, Richard Gere (in American Gigolo), Dianne Keaton (in Annie Hall) and so many other highlights of cinema. Armani was one of the first fashion designers to capture the importance of Hollywood. He has never stopped dressing actors. Both Cate Blanchett and Charlotte Rampling were dressed in Giorgio Armani at the last Academy Awards.
The Daywear section didn't really blow me away. Honestly, I have never really liked the beige-greige colour scheme that Armani always delves into. Yet, the essential Armani is right here: where the soft and unstructured jackets are, both for men and women. That is what Armani did for fashion from the 80s onwards: he blurred the line between feminine and masculine, and empowered women through their wardrobe. That's why, for me, I still like his suits better than his dresses. The flats come with a philosophy...
Entering the floor of Exoticism feels like going on a trip to India or the Far East. Not only do we almost sense the odours of a far away country, we can almost feel the soft velvets and silks used for kaftans, pyjamas, skirts and tunics. I especially liked the many floral references and the beautiful wraps here and there...
Armani is a true minimalist, which is difficult to understand if you witness all the decoration and the intricate handwork that comes with these silhouettes. What is a blessing is the fact that we can almost touch what we see. Not a single silhouette, not a single piece has been put behind glass. So we walk through each floor and can see up close how every garment is made. An eye-opener!
