^£; GIORGIO ARMANI GIORGIO ARMAN GuggenheimMUSEur Published on the occasion of the exhibition Hardcover edition distributed by GIORGIO ARMANI Harry N. Abrams Organized by Germano 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-speaking countries 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 different covers have been created for this catalogue. One of them 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: Andy Warhol, Giorgio Armani, 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, New York 10128 CONTENTS viii Preface and Acknowledgments by Thomas Krens ARCHITECTURE/DESIGN of xiv Giorgio Armani: Toward the Mass Dandy by 200 The Elegance of the Everyday: The Interiors Germano Celant Giorgio Armani by Donald Albrecht 204 Armani by Design by Andrea Branzi PRIVATE AND PUBLIC Special Photography Projects by Thomas Schenk, Goldberg 2 Interview with Armani by Ingrid Sischy Guido Mocafico, Michel Comte. Nathaniel John Akehurst 20 Milan in the 1970s and 1980s by Natalia Aspesi Raymond Meier, and 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 33 Armani and Hollywood by Hamish Bowles CINEMA and Fashion by Valerie Steele 59 Selected Garments by Harold Koda 246 Armani, Film, 252 Made in Milan: Notes for a Screenplay by Martin Scorsese and Jay Cocks GENDER Special Photography Projects by Miles Aldridge. 68 Liberty, Equality, Sobriety by Suzy Menkes Von Unwerth, Terry Richardson, and 74 On Womenswear by Franca Sozzani Ellen Enrique Badulescu 82 The Menswear Revolution by Patrick McCarthy 257 Advertising Stills by Karole Vail Special Photography Projects by Tom Munro, David Bailey, Costume: Creating Character by Sean Ellis 270 Armani and Film Aldo Fallai, Carter Smith, Peter Lindbergh, and Catherine Perry 280 Moving Images by Karole Vail 89 Androgyny: Undoing Gender by Susan Cross 292 Snapshots of Milan: Emporio Armani Billboards by 100 The Armani Look by Catherine Perry Alberto Abruzzese 116 Traditionalism: Redoing Gender by Susan Cross 315 Selected Garments by Harold Koda 126 Changing Roles by Susan Cross 135 Selected Garments by Harold Koda Koda 326 A Selection of Armani: Entries by Harold 1976-2000 WORLD CULTURE 344 Men's and Women's Collections. 358 Chronology by Karole Vail 156 The Sands of Time: Histoncism and Orientalism 368 Selected Bibliography by Maria Dupre in Armani's Designs for Women by 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. glance in a mirror as you dress Even if you don't own a single A/X T-shirt, if you so much as each morning, Giorgio Armani has influenced your wardrobe. His passion (perhaps even obsession) by an industry every time it for simplicity in all forms of dressing has repeatedly been embraced his ceaseless desire to make clothes that needs to find its way back to reality. For twenty-five years replace fuss with facility and move with effortless elegance, radiate confidence and modernity, and ease has put anyone who cares about style forever in his debt. exhibition and applauds the Guggenheim Museum In Style is pleased to offer support for this for spotlighting Armani's extraordinary career. Martha J. Nelson Managing Editor, In Style Magazine PREFACE AND ACKNOWLEDGMENTS 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 a rigidly elegance that is at once classical and casual. His reconfiguration of the traditional suit from 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 Motorcycle (1998) presented a range of artistic languages, including art. architecture, fashion, and design, demonstrating the fusion that has often occurred between them. Giorgio Armani has been realized by the efforts and support of many individuals and to the institutions too numerous to cite here. Nevertheless, we would like to express our thanks this project. incredible team of talented and devoted people who worked so diligently to bring about incomparable work We owe. of course, the greatest debt of gratitude to Giorgio Armani himself, whose Giorgio Armani S.p.A. who and vision we are celebrating. We are also grateful to the individuals at would not have been helped bring this exhibition to fruition. We recognize that this exhibition Celant. Senior Curator imaginable without the efforts and creative talents of its co-curators. Germano guest curator. Each has brought his of Contemporary Art. Guggenheim Museum; and Harold Koda. expertise and his unique sensibilities to bear upon this show. to work with distinguished artist and In addition, we are pleased to have had the chance of Change Performing Arts and designer Robert Wilson and to collaborate with Elisabetta di Mambro concept has transformed the museum, the rest of Wilson's team. Wilson's unique exhibition-design Armani's designs. Robert Wilson himself wishes to providing a dramatic and incomparable setting for World Sponsors who support his work through thank the Aventis Foundation and the following American Friends of the Paris Opera and Ballet. Giorgio contributions to the Byrd Hoffman Foundation: Pierre Berge, Bacardi USA. Inc.. Irving and Dianne Benson. Armani, Lily Auchincloss (in memoriam), memonam). The Edelman Companies, Christian Elaine Terner Cooper. Ethel de Cresset (In Christopher Henkel. Franck. Betty Freeman, Agnes Gund, Eisenbeiss. Marina Eliades, Eric and Martine de Pury, Katharine Rayner, Newman (In memoriam). Simon Gabriel Henkel. Donna Karan. Mrs. Barnett Foundation, Sarofim. The Juliet Lea Hillman Simonds Mark Rudkin, Gher, Sackler, Louisa Stude Robert W. Rowshanak Vakil, Robert Wilson Stiftung, Annaliese Soros. Darthea Speyer. Stanley Stairs, Wilson, and Yves Saint Laurent Parfums. On the occasion of for his elegant catalogue design. Takaaki Matsumoto Is to be commended has invited twenty-five feature of the catalogue, the Guggenheim the exhibition and as a special their ow and celebrate Armani's designs by creating prominent fashion photographers to interpret Haan must be Baron and Baron, Inc. w„h Amanda mages Fabien Baron and Lisa Atkin of of the best photographers effort in bringing on board a group acknowledged for their tremendous themselves: John Akehurst, M, es thanks go to the photographers Tor n today. Our deepest r Sea Chin. Michel Comte. Patrick Demarche Badulescu. David Bailey, Walter Iridge Enrique Peter Steve Hiett. Frederik Lieberath. Nathaniel Goldberg. Pamela Hanson. E A do Fa la,. Richardson. Herb Rltts, Paolo Rovers,.