THERE are several things you can rely on
Giorgio Armani for - one is luxury, the other is starting on time. Once more there was the scramble to fit in the 'highstreet does couture' wardrobe crisis, full continental breakfast (well, you need to set yourself up for the day), plus locate a taxi all before the very strict 09.30 start. Yikes.
This January marks his third 'couture' presentation. Privé - private - the Italian's answer for 'it's made only for you'. Unlike other seventy-somethings, this designer gets more creative as he gets on, launching Armani Privé on to the runway in January 2005. Proof indeed that he has too many ideas to retire, and far too many clients to let him - as they want dressing for the red carpet and, more importantly, drop-dead gorgeous daywear occasions.
Past the model-proportion pinboard holders and up to his tiny salon we went, to find two black rows each side of the un-raised metallic edged runway. This was Armani intimate and up-close and, although in Paris, the slick setting transported you to the luxury of his homeland and all he symbolises.
Opening with daywear, pantsuits, the Armani woman was offered crepe fitted jackets with a silk grosgrain lapel and bustle at the back set off against the cigarette pant, or a light wool jacket with shell-like chiffon ruffles round the hem to start. A lilting Italian soundtrack for the girls that sauntered by in suits ideal for Lady Helen Taylor, Charlotte Rampling and Sophia Loren - three of his well-known clients who attended his second show. The clothes were classy, chic, and for women who know how to work a room as much with wit as with her figure.
Armani doesn't design to the thrill of the flash bulb paps - how vulgar - his designs are cleverer than that. In them women are mesmerising - the epitome of a modern day siren, understated yet there was no denying the luxury and in that understating Armani knows how to attract all eyes. And they say women specialise in reverse psychology. Laminated black Sicilian lace peeking through a tight fitting black jacket, a pinstripe pantsuit with stripes that worked to tailor and corset the female form. What he concealed became all the more alluring through his cut.
Ultra feminine bow-fronted ties on fitted jackets with cigarette pants, oyster satin slips that slunk off the body, puffs of satin, or ripples of chiffon that fell down strapless fishtail fitted dresses in watery lilacs, black or hot pink: shapes were body-conscious as well as kind. Organza evening dresses were embellished with ribbons and flounces, jet beads embroidered onto a new take on le smoking so every step caught the light, and buttery satin corolla-shaped gowns were every bit what you would expect a couture outfit to be. Workmanship and restrain embellished every piece yet all remained true to the spirit and crusade of the master of understated chic. (January 23 2006, PM)
By Camilla Morton