Table Of Content

^£; ARMANI GIORGIO ARMAN GIORGIO GuggenheimMUSEur Published on the occasion ofthe exhibition Hardcover edition distributed by GIORGIO ARMANI Harry N. Abrams Organized byGermano Celant and Harold Koda 100 Fifth Avenue with Susan Cross and Karole Vail New York, New York 10011 Exhibition designed by Robert Wilson Hardcover edition distributed in German-speakingcountries by Solomon R. Guggenheim Museum. New York Hatje Cantz Verlag October 20. 2000-January 17. 2001 Senefelderstrasse 12 D-73760 Ostfildern Guggenheim Museum Bilbao Germany March 12-August 26. 2001 Catalogue design: Takaaki Matsumoto. Matsumoto Incorporated, New York Giorgio Armani © 2000 The Solomon R Guggenheim Foundation. New York. Two differentcovers have been created forthis catalogue. One ofthem features All rights reserved. photographs by Tom Munro. The other, a special edition, is covered with fabric chosen by All Giorgio Armani works © Giorgio Armani S.p.A. Giorgio Armani. Used by permission. All rights reserved. Frontispiece: AndyWarhol, GiorgioArmani, 1983 (detail) isbn 0-89207-235-0 (softcover) isbn 0-8109-6927-0 (hardcover. Abrams) Printed in Germany by Cantz isbn 3-7757-0979-9 (hardcover. Hatje) isbn 0-89207-236-9 (fabric edition) Guggenheim Museum Publications 1071 Fifth Avenue New York, NewYork 10128 CONTENTS ARCHITECTURE/DESIGN Preface and Acknowledgments by Thomas Krens viii xiv Giorgio Armani: Toward the Mass Dandy by 200 The Elegance of the Everyday: The Interiors of Germano Celant Giorgio Armani by Donald Albrecht 204 Armani by Design by Andrea Branzi PRIVATE AND PUBLIC Special Photography Projects by Thomas Schenk, 2 Interview with Armani by Ingrid Sischy Guido Mocafico, Michel Comte. Nathaniel Goldberg 20 Milan in the 1970s and 1980s by Natalia Aspesi Raymond Meier, and John Akehurst 26 The Armani Army by Marshall Blonsky with the collaboration of Edmundo Desnoes 209 Armani and Architecture by Lisa Panzera 224 Armani and Textiles by Catherine Perry Special Photography Projects by Walter Chin, Pamela 231 Selected Garments by Harold Koda Hanson, Patrick Demarchelier, and Herb Ritts CINEMA 33 Armani and Hollywood by Hamish Bowles 59 Selected Garments by Harold Koda 246 Armani, Film, and Fashion by Valerie Steele 252 Made in Milan: Notes for a Screenplay by Martin Scorsese and Jay Cocks GENDER 68 Liberty, Equality, Sobriety by Suzy Menkes Special Photography Projects by Miles Aldridge. 74 On Womenswear by Franca Sozzani Ellen Von Unwerth, Terry Richardson, and 82 The Menswear Revolution by Patrick McCarthy Enrique Badulescu Special Photography Projects by Tom Munro, David Bailey, 257 Advertising Stills by Karole Vail Aldo Fallai, Carter Smith, Peter Lindbergh, and Sean Ellis 270 Armani and Film Costume: Creating Character by Catherine Perry 89 Androgyny: Undoing Gender by Susan Cross 280 Moving Images by Karole Vail 292 Snapshots of Milan: Emporio Armani Billboards by 100 The Armani Look by Catherine Perry 116 Traditionalism: Redoing Gender by Susan Cross Alberto Abruzzese 315 Selected Garments by Harold Koda 126 Changing Roles by Susan Cross 135 Selected Garments by Harold Koda 326 A Selection of Armani: Entries by Harold Koda WORLD CULTURE 344 Men's and Women's Collections. 1976-2000 358 Chronology by Karole Vail 156 The Sands of Time: Histoncism and Orientalism in Armani's Designs for Women by 368 Selected Bibliography by Maria Dupre Caroline Rennolds Milbank Special Photography Projects by Paolo Roversi, Steve Hiett, Albert Watson, Satoshi, and Frederik Lieberath 161 A Place in the Sun by Susan Cross 175 Selected Garments by Harold Koda This exhibition is made possible by InStyle' SPONSOR'S STATEMENT He is the man who got rid of the gray flannel suit. The stiff, heavy, gray flannel suit. The designer who showed women they could dress for the office without looking like men. The imagination that shaped a wardrobe so supple and seductive for Richard Gere in American Gigolo that menswear in this country was never the same again. The seer who foresaw that putting stars in his clothes could not only create an explosive synergy between Hollywood and fashion, but also inspire everyone to create a few opening nights in their own lives. Even if you don't own a single A/X T-shirt, if you so much as glance in a mirror as you dress each morning, Giorgio Armani has influenced your wardrobe. His passion (perhaps even obsession) for simplicity in all forms of dressing has repeatedly been embraced by an industry every time it needs to find its way back to reality. For twenty-five years his ceaseless desire to make clothes that move with effortless elegance, radiate confidence and modernity, and replace fuss with facility and ease has put anyone who cares about style forever in his debt. In Style is pleased to offer support for this exhibition and applauds the Guggenheim Museum for spotlighting Armani's extraordinary career. Martha J. Nelson Managing Editor, In Style Magazine ACKNOWLEDGMENTS PREFACE AND Thomas Krens The Solomon R. Guggenheim Museum is pleased to present Giorgio Armani, a survey of Giorgio Armani's unparalleled contribution to the world of design. Spanning his twenty-five-year career, this exhibition will demonstrate how Armani's radical innovations in the realm of clothing design have transformed the face of contemporary fashion and inspired an entire generation to rethink conventional, gender-specific modes of dress. The Armani look is synonymous with an androgynous elegance that is at once classical and casual. His reconfiguration of the traditional suit from a rigidly tailored garment to an unstructured, flowing form gave new emphasis to the male physique, which had long been suppressed in business attire. And his adaptation of the man's suit for women marked a liberating trend in womenswear. Many contemporary designers have been influenced by the visual arts, while numerous contemporary artists have appropriated fashion as a means of self-expression. This exchange has been deeply significant for both fields and is a hallmark of culture at the outset of the twenty-first century. The Italian Futurists were among the earliest Modern artists to underscore the inter- relationship between art and fashion. Giacomo Balla, for instance, advocated the idea of a totally designed environment, which would include not only art and architecture, but design and fashion in particular. Armani has inherited the mantle of his Italian forebears. His vision encompasses a completely choreographed aesthetic experience, from his fashion designs to his home collections. While design and objects of material culture have traditionally been considered secondary to the "high" arts, since the beginning of the twentieth century artists and designers have blurred those distinctions in their melding of aesthetics and function, of art and everyday life. The Guggenheim Museum has consistently investigated the central role that design has played in modern culture since 1991, when it expanded its vision to include architecture, design, and new media. Guggenheim exhibitions such as The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 (1992-93), The Italian Metamorphosis, 1943-1968 (1994-95), Art/Fashion (1997), and The Art of the