Giorgio Armani took over uptown Manhattan on Thursday with a star-packed show on Park Avenue; a party featuring a concert by Chaka Kan and the most impossibly ‘insider’ of insider after-parties.

A catwalk show staged inside the Park Avenue Armory, where Orlando Bloom, Liev Schreiber, Pamela Anderson and Cooper Koch of the current hit Netflix series Monsters: The Lyle and Erick Menendez Story, posed for photos.
 
The huge space done up in semi-circles, where 650 guests sat expectantly as the lights darkened and out rolled the first looks. The show featured Giorgio’s spring/summer 2025 signature collection, traditionally shown in Milan, but this season transported to New York.

Respecting his unique non-color codes in a co-ed show, Giorgio’s key hues for women were mud, sand, faded roses and soft orange. For men, cement, lead and a marvelous pale dawn grey.
 
His strongest looks were in menswear. Matter of fact, a generation of young design students should look at this collection – for his floaty sense of volume, remarkable series of pajama pants and dhotis and overall willowy beauty.
 
Womenswear was more hit and miss. Truly, there has been a whole trend of summer bloomers on European runways. And Armani sent out a dozen, sometimes with an overly girlish appeal, though oft with great charm when combined with short jackets and safari jackets.
 
However, for evening he hit a series of home runs with some beautiful crystalline sherbet tunics paired with cigarette pants, or blouses with bloomers and incredibly delicate peasant dresses showered in mini crystals.
 
Presented on a winding maze of catwalks, where the cast stood to attention before Armani alone took his bow in the corner of the vast space. Not even the presence of some PETA protestors detracted from this sensitive moment, where the defining designer of the past half century received an avalanche of applause.
 
Plus, the day before Giorgio had unveiled a brand new $400 million complex named Armani Residences on Madison Avenue. His house taking over the neighborhood’s two swankiest hotels – The Carlyle and The Mark – with stars, VIPs, clients and editors.
 
Giorgio’s Thursday had begun with a personal appearance at his boutique in Bergdorf Goodman, signing copies of his book Per Amore. Outside, 10 windows of the world’s most luxurious department store were customized with looks from Armani Men’s and Women’s Collections. An elegant celebration of his historic ties with Bergdorf, the first store to carry the Giorgio Armani Men’s Collection back in the 1980s. 
 
It ended with the best post-Covid fashion after-party, where Too Many DJs put on an inspired set in Bemelmans, New York’s classiest bar, as Leonardo Di Caprio and Tobey Maguire held court.
 
All told, a remarkable two days by the Italian maestro who celebrated his 90th birthday this summer. Good reason why we caught up with the designer who never sleeps in the City Which Never Sleeps
 
Fashion Network: I had the honor and pleasure of joining you when you launched One Night Only in London in 2006. How has the concept evolved in the many cities it has visited? Why did you want to bring One Night Only to New York this month?
Giorgio Armani: The beauty of the One Night Only format lies in its flexibility. It adapts to any location and occasion, but the core idea remains – everything happens in just one night. In this case, however, it’s not just One Night Only, but an event to celebrate a significant opening. What makes this moment special for me is that I’m not simply re-presenting a collection; this is the debut of my spring/summer 2025 collection. It’s a unique celebration of the Armani world and life in New York.

FN: You have a certain love affair with New York, what does the city represent for you? 
GA: New York has always fascinated me. I first became aware of it through the films I watched as a young man – films that shaped the way I viewed the world. It later became the first metropolis to embrace my style, a style that came to symbolize a moment of cultural and social change. This connection has made my relationship with the city truly special.
 
FD: Since opening the first Armani Hotel in Dubai in 2010, no other designer has created so many branded properties, hotels or dual-use towers. It almost feels like another career. Why has this project been so important to you?
GA: My expansion into the world of living began as a business opportunity, one that I saw as full of potential. The success of my projects so far has encouraged me to continue down this path, which has essentially become a second career, running parallel to my work in fashion. These projects are important to me because they complete my vision – bringing my sense of style into people’s lives and the spaces they inhabit. The guiding principle remains the same: my design should never overshadow those who live in these spaces. Rather, the space must reflect its occupants. I believe this is where the success of these projects lies.
 
FN: What do you hope your legacy is?
GA: The legacy I hope to leave is one of dedication, respect and an eye for reality. Success in fashion comes from observing people, understanding their needs and creating clothes that meet those needs. At the heart of it, I focus on making beautiful garments. Fashion is a serious but deeply rewarding profession.
 
FN: And what fresh elements have you brought to your latest project on Madison Avenue?
GA: The Madison Avenue building has been completely redesigned, drawing on the architectural style of the 1940s, which has long been an inspiration to me. It stands out for its timeless elegance yet integrates perfectly with its surroundings. The beauty of Armani’s style is its ability to remain consistent while harmonizing with its environment.
 
FN: Cinema has always been a key element in your creative process, since American Gigolo in 1980. You were honored with a Style Award in the Rodeo Drive Walk in 2003. In your view, why has Hollywood — and so many great actresses and actors — always worn and loved your clothes?
FN: Initially, these actors came to me because they recognized that my style offered a new understated and natural elegance that allowed them to shine without overdoing it. My designs introduced a sense of sophisticated ease and comfort to a space that was previously extremely theatrical. Over time, this created a bond that has grown over the years. For me, the person is always more important than the clothes they wear, and I think that’s why people continue to choose my designs.