Driven by a need for a larger venue for his fashion shows and a philanthropic spirit, Giorgio Armani raised the curtains of his spring/summer 2002 collection at the new Armani Teatro in Milan yesterday.
The theatre, a generous gesture for the people of Milan, consists of a theatre and art gallery designed by the renowned modernist architect, Tadao Ando.
Situated in a former chocolate factory, Ando has transformed the industrial space into a large cultural centre using the elements of concrete, light and water. This Japanese spirit echoes Armani's own aesthetic. "I wanted to create something as simple as possible but of lasting value and I have always loved and admired the Japanese spirit of buildings," he says.
"I am very proud to have done something like this for the people of Milan." While enthusiastic about the design he will not be drawn on the cost of the Teatro. "In the rush to get it finished (for the fashion show) things cost a little more than I expected," he said. However, it made a fitting setting for the collection based on soft, pearly grey and oyster tones in shimmery techno silks.
In a season when a quiet approach to design is much in evidence, Armani's gentle colours and sporty sophistication plays the mood perfectly. Jackets are square and short with rounded necklines and trousers are fluid palazzo style, some cut obliquely forming an asymmetric hem.
The collection opened with a nautical theme of navy and white jackets and slouchy striped silk T-shirts that slip off the shoulder, worn with either navy or white trousers. The evening wear featured red beaded Oriental-inspired embroidery on fine tulle bibs worn with birds wing print trousers and sandals.
While Armani represents a cool modernism, Alberta Ferretti's style is whimsical and romantic. Her bias-cut ivory chiffon dresses from her new Spring collection, with their delicate details, would thrill any bride-to-be. Ferretti draped necklines, added little chiffon roses and a hint of lace, but stuck to a simple empire-line silhouette.