I grew up with him, first noticing him in the 80s as the guy who brought European style and flair to the American man in the classic neo-noir American Gigolo with Richard Gere.
Here is the memorable fashion-fetishistic scene form the film, when the main character, Julian Kay is
It was a pivotal moment in American cinema in the way it luxuriated in a man's connection to his sense of self through wardrobe. Note the extended, almost ritualistic nature of the dressing process; the way it was filmed to emphasize the sensuality and precision; the connection to high-end designer fashion (Armani); and how it was used to establish character - showing Julian's professionalism, vanity, and the transactional nature of his relationships.
And I would be remiss if I didn't include the Blondie video for "Call Me" which was part of the movie's soundtrack and includes the unforgettable image of Julian driving to Palm Springs in his convertible.
In the 90s Armani was the go-to dresser of the boss girl kicking up a storm in the urban corridors of power. In the early 2000s, he represented a form of elegant minimalism that never sacrificed luxury, tailoring, or distinction, for all its "simplicity" - culminating in a stunning array of power suits meant for the red carpet. And as a vintage dealer, it has always been a thrill to discover his pieces and appreciate their quality and timelessness.
There are plenty of great, online tributes to his legacy. Here is one and this and this are also good. But for me, the best of Armani will forever be encapsulated in the delicious print advertisements of the late 80s and 90s that I saw splashed across the pages of Vogue and Bazaar on my aunt's coffee table.
His long-time photographer and colleague was the great artist Aldo Fallai. The Armani museum in Milan honored the photographer with a retrospective in 2024.
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