#why India celebrates Independence Day

[manasastuff-blog]

"Happy Independence Day"#trending#viral

The Happy Independence Day Importance goes beyond just celebrating a national holiday; it's a day that marks the sacrifices, struggles, and triumphs of countless heroes who fought for India's freedom. In this we'll delve into why Independence Day holds such profound significance in the hearts of every Indian. From the historical context to the contemporary relevance, we explore how this day is a reminder of the responsibilities and duties we carry as citizens of a free nation. Whether you’re reflecting on the past or looking towards the future, understanding the true meaning of Independence Day can inspire a deeper sense of patriotism and pride. Join us as we uncover the hidden layers of this important day and celebrate it with the respect and honor it deserves.

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#IndependenceDay#Freedom#Patriotism#India#NationalPride#IndianHistory#IndependenceDay2024#FreedomFighters#IndianCulture#HappyIndependenceDay#trending#viral#manasadefenceacademy

[humongousyouthdelusion]

Recent Posts

Independence Day of India: Why celebrate? History,Facts

Side Effects of Covishield Vaccine: What are the side effects of Covishield Vaccine, how harmful is Covishield Vaccine for people?https://khabaradda24x7.com/

[communist-ojou-sama]

By the way, another little point of hope and optimism to hold onto is that on the point of international law and Israel's flouting of it, a lot of people are justifiably, and with great frustration, asking "what's the point of it if it doesn't apply now?" Well, based on the US' own abrupt about face we can see that it Does matter, and the reason why is good news. See, the truth of the matter is that those of you who aren't fellow Geopolitics Heads might not realize this, and take it as axiomatic that the US is still The Global Hegemon that does as it pleases on the world stage, but increasingly, especially in these past 5 years in particular, that whole reality has been beginning to fall apart.

The truth is, in spite of the scam that is orthodox development economics, little by little, the third world has in fact been rising up to the level with the parasite nations of the West. What this means is that more and more Brazil matters. Indonesia matters. China matters. India matters. Nigeria matters. South Africa matters. Iran matters. So many other countries matter. Not in some abstract moral sense, but in the sense that they are increasingly powerful, and increasingly independent global powers in a world order that is just beginning to take shape before our very eyes.

People forget, but at the height of its power, when the 3rd world was much weaker, the US used to make a big show of meticulously following international law in light of day and equally meticulously covering it up when they violated it, but as imperial collapse continues apace, the same decisionmaking positions are occupied by zealots who are unwilling to operate with the same care as their predecessors, arrogantly believing that the US can do whatever it wants to the rest of the world, even though increasingly, and I can't stress this enough, it cannot.

So while defeat is of course waiting for the Zionist Enemy as well, the US's full-throated support of its vicious attacks on Palestinian civilians has utterly eviscerated any remaining credibility as a fundamentally benign power the US may have had remaining just about anywhere after the Iraq war. Imperialist parasites flock together and they crash and burn together.

Point being, the days in which these ghouls can even appear to "get away with" this kind of barbarity on the global stage are numbered, and they will be over Far sooner than many of you may think. So keep fighting, keep preparing for your own fight when the US begins to collapse in earnest as well, but also take heart. Be ready to celebrate when the colonial regimes are defeated and the fascist international is extirpated, for that day will come without fail.

[the-bengali-diva]

Do you guys know what was the biggest surrender of our history after world war two?

It was the surrender of Pakistani military against Bangladeshi

On 16 December 1971.

But today I didn't grab your attention only to give you some random history facts.

We Bangladeshi students need your help! So please read this article till the end

After the partition of the Indian region in 1947, two independent nations were born.One India and one Pakistan.

The country of Pakistan was divided into two parts, East Pakistan, currently Bangladesh and West Pakistan, currently Pakistan.

But the distance between the two regions was thousands of kilometers. So uniting them into one singular nation was definitely foolish.

To think that the partition actually happened because of religion is laughable on itself but this is a topic of debate for another blog.

Even though we got our freedom from the British empire the people of East Pakistan kept on getting exploited by the west pakistan government.

Note, from now on I will refer to East Pakistan only as Bangladesh because the way we were exploited by our own so called government which only resided on the west pakistan and left us on poverty clearly indicates they never saw us as their own people.

Pakistan didn't only exploit us politically and financially, but they also tried to take away our unique Bengali identity from us.

They banned our traditional Bengali festivals like Noboborso (which is Bengali new year) They tried to ban Rabindra sangeet in fact, they even tried to replace our Bengali alphabet with the Urdu alphabet.

People were already protesting against it and were participating in every traditional festival

But the elastic snapped when they tried to take away our mother tongue, Bangla

When a pakistani politician made the announcement that "Urdu and only Urdu will be the only national language of Pakistan" in Dhaka university's convocation, it was the students who roared in disapproval.

In 1952, breaking the curfew, students and common people went on a protest for our mother language Bangla.

The police started to shoot them and the soil of Bangladesh became stained with blood and Bangla became the only language for people had given up their lives.

That's why we celebrate "Sahid dibos" and "international mother language day" on 21st February.

Throughout the fight for our existence, freedom and culture, students of our nation had always played a crucial role.

They also made a student's political party "Chatro league"

After the election of 1970, when the Pakistani government didn't agree to give power to the Bangladeshi political party "Awami league" our students again started to organize protests and other activities

Finally "Awami league" ordered for a mass protest. 2nd march Dhaka and 3rd march the whole Bangladesh was shut down.

On 2nd march 11 am "Chatro league" students hoisted the flag of Bangladesh in Dhaka university.

All this information dump was for you all to understand how the students of Bangladesh had always played a crucial part in our liberation.

Our students have always been fierce and had stood up for injustice even if they had to sacrifice their life for it.

And right now history is repeating itself!!!

Again students are getting attacked because of their protests but this time, it was our so-called "chatro league" and the government who are doing this inhumane act.

They are beating the students with rods, throwing bricks at them and even police are shooting them.

Only because we wanted the quota policy to demolish. Only because we wanted equal opportunity for civil jobs.

On 25th march 1971, the Pakistani military committed genocide in Dhaka. They attacked sleeping students in Dhaka university and protesters on roads who were still protesting at night.

And now the same thing is happening, history is repeating itself.

Students of public universities are getting attacked in their own dorm rooms, they are getting beaten to death by the so-called "chatro league" members. There are screenshots of the chatro league leaders group chats flothing around the internet where they command the other members to stab the protester students.

There was a time when Chatro league claimed they always stood up when our mother and sisters needed protection

And now those same people are beating up those same sisters they vowed to protect

The police are shooting the protesters like they did in 1952 language movement

The only difference is in the past we were oppressed by another nation's government

But this time it's our own people who are causing our student's blood to stain our roads.

Please do not ignore us. Reblog this post or use the hastag #savebangladeshistudents to create awareness

[colonelrajyavardhanrathore]

Hearty Congratulations to the Disabled Community on International Disabled Day: A Tribute by Col Rajyavardhan Rathore

International Day of Persons with Disabilities, observed on December 3rd, is a time to honor the resilience, achievements, and unique contributions of individuals with disabilities. On this day, Colonel Rajyavardhan Rathore, a celebrated soldier, Olympian, and leader, extends his heartfelt congratulations and best wishes to all disabled individuals, commending their courage and determination to overcome challenges and lead extraordinary lives.

A Day to Celebrate Strength and Resilience

International Disabled Day was established by the United Nations in 1992, emphasizing the need to build inclusive societies where every individual, regardless of ability, has equal opportunities to thrive.

Why This Day Matters

Recognizing Talent: It sheds light on the exceptional skills and achievements of disabled individuals.

Fostering Inclusion: Encourages governments, organizations, and communities to promote accessibility and equality.

Spreading Awareness: Highlights the challenges faced by disabled people, advocating for their rights and dignity.

Col Rajyavardhan Rathore’s Message of Inspiration

Colonel Rathore has always been a strong advocate for inclusion and empowerment. On this occasion, he expressed his admiration, saying: “The strength and spirit of individuals with disabilities inspire us all. They remind us that challenges are just opportunities to rise above and achieve greatness.”

His Commitment to Inclusion

Col Rathore has consistently worked to bring attention to the needs of disabled individuals. From promoting accessible infrastructure to supporting para-athletes, his initiatives reflect his dedication to building an inclusive society.

Celebrating the Achievements of Persons with Disabilities

Disabled individuals across the globe have made remarkable contributions in various fields, breaking barriers and shattering stereotypes.

In Sports

Indian para-athletes like Devendra Jhajharia and Mariyappan Thangavelu have brought glory to the nation, proving that determination knows no bounds.

Col Rathore has always championed sports as a medium of empowerment, encouraging para-sports programs across the country.

In Technology and Innovation

Visionaries like Stephen Hawking, despite severe disabilities, have revolutionized science.

In India, inclusive tech startups are providing job opportunities and reshaping the corporate landscape.

Empowering Disabled Communities

Colonel Rathore emphasized the importance of empowering disabled individuals to lead independent and fulfilling lives. Here’s how society can play a role:

Promoting Accessibility

Ensuring public spaces, transport, and digital platforms are accessible to all.

Advocating for assistive technologies to enhance mobility and communication.

Encouraging Education and Employment

Special scholarships and vocational training programs can equip disabled individuals with the skills needed to excel.

Companies must adopt inclusive hiring practices, valuing talent over physical limitations.

Government Initiatives for the Disabled in India

India has made significant strides in creating a supportive environment for disabled citizens.

Accessible India Campaign

Launched to make public infrastructure, transportation, and information systems accessible to people with disabilities.

Reservation Policies

Employment and educational reservations ensure fair opportunities for disabled individuals in various sectors.

Support for Para-Sports

From increased funding to international training opportunities, India is empowering its para-athletes to shine globally.

Col Rathore’s Call to Action

Col Rathore believes that creating an inclusive society is a collective responsibility. On International Disabled Day, he urges everyone to:

Raise Awareness: Educate communities about the abilities and rights of disabled individuals.

Offer Support: Volunteer time or resources to organizations working for disability rights.

Eliminate Stereotypes: Treat disabled individuals with dignity and as equals, focusing on their abilities rather than limitations.

Conclusion: A Salute to the Spirit of Resilience

International Disabled Day is not just a day of recognition — it is a celebration of courage, perseverance, and humanity. As Col Rajyavardhan Rathore aptly puts it: “Disabled doesn’t mean less capable; it means differently abled. Let’s celebrate their achievements and create a world where they thrive without barriers.”

This day reminds us that by embracing diversity, we can build a more inclusive, compassionate, and united world.

[saintmeghanmarkle]

Meghan in the nudes: the First Lady of Nigerias speech and some headlines from mainstream media by u/Mickleborough

Meghan in the nudes: the First Lady of Nigeria’s speech, and some headlines from mainstream media As reported in this sub a couple of days ago, Senator. Oluremi Tinubu, the First Lady of Nigeria, made a speech on 25 May at the ‘Celebrating the Woman’ event, marking the first year of her husband’s administration.These words set the tone for her speech: ‘The message here is that we have to salvage our children.’She goes on to say: ‘We don’t accept nakedness in our culture.’The Meghan moment - where she alludes to the Meg is below (with my intepretation, based on logic): ’Even they [Nigerian children / girls] are mimicking and trying to emulate film stars from America. They [American film stars] don’t know where they come from. Why did Meghan come here looking for Africa? That is something we have to take home with us. We know who we are, and don’t lose who you are. God bless you.’ [Speech ends.]In my view, the literal interpretation‘s that the First Lady’s citing Meghan as an example of an American film star who doesn’t know where she comes from (her roots, her identity, sense of self - take your pidk). So - no criticism of Meghan’s flashing her flesh on her recent Nigeria visit.However it’s a logical inference, from the First Lady’s speech, that American film stars who don’t know where they come from flaunt their nakedness. And as Meghan‘s American film star in search of her roots, ergo Meghan goes around naked.In any event, Meghan’s nakedness has made the nudes:https://ift.tt/T6Jfr7y Sun (UK), 26 May.The Daily Mail (UK), 27 May.The Hindustan Times (India), 27 May.https://ift.tt/F5Iwei6 New York Post (US), 27 MayPakistan Today (Pakistan), 27 May.https://ift.tt/bAFxMUy Independent (UK), 28 May.India Today (India), 28 May.NDTV (India), 28 May.Scottish Daily Express (UK), 28 May.Sky News (Australia), 28 May.The Telegraph (UK), 28 May.The last word:Attendees at ‘Celebrating the Woman’.https://ift.tt/3iVuhvy and Meghan at ‘Women in Leadership’.Meghan exercising her Second Amendment right. post link: https://ift.tt/FsuSU15 author: Mickleborough submitted: May 29, 2024 at 10:54PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

[rabbitcruiser]

World Sparrow Day

World Sparrow Day, observed annually on March 20, is a day to raise awareness of the protection of sparrows. We are particularly excited about this holiday because we just can’t resist the cuteness of these little birds and we know at the end of this article, you will be as excited to join too.

History of World Sparrow Day

World Sparrow Day is an initiative started by the Nature Forever Society of India (founded by Mohammed Dilawar) along with the Eco-Sys Action Foundation of France and many other organizations around the world. Though the holiday carries the name Sparrow, it was mainly created for awareness of Sparrows but also includes the beauty and biodiversity of other common birds that may share the same space as us.

Mohammed Dilawar, a dedicated conservationist, started the campaign to provide special care for house Sparrows in Nashik. The idea to make the campaign official was born during an informal discussion at the office of the Nature Forever Society. Thereafter, the first World Sparrow Day was observed in 2010 all around the world.

It created a platform for bird conservationists to network and exchange ideas to improve conservation. It aims to provide a point of contact for people around the world to come together and create awareness of the necessity for the protection of common biodiversity or species of lower conservation.

Sparrows or house sparrows have been known to live in green patches and backyards chirping away in urban areas though, during the harsh summers, they require cool shades and water. They’ve always been quite common in residential areas but are currently on the verge of extinction due to noise pollution, lack of nesting sites in modern buildings, pesticide usage, and non-availability of food as reported by ornithologists.

The awareness created led to the house sparrow becoming the state bird of  Delhi in 2012.

As the years go by, more people are joining the campaign to conserve these birds as a way of giving back to nature. Some have gone as far as creating bird nests for sparrows and other common, birds in the community.

World Sparrow Day timeline

1863 Introduction of the House Sparrow

The house sparrow is introduced into America, parts of Africa, Australia, and New Zealand from this time, such that it is now the most widespread urban bird in the world.

2008 Heroes of the Environment

The founder of the Nature Forever Society, Mohammed Dilawar is named one of the ‘Heroes of the Environment.’

2012 State Bird of Delhi

The efforts of the Nature Forever Society, a conservationist group, lead to the declaration of the house sparrow as the state bird of Delhi.

2019 I Love Sparrows

The theme for World Sparrow Day in 2019 is ‘I Love Sparrows.’

World Sparrow Day FAQs

Why is World Sparrow Day celebrated?

It is a day celebrated to raise awareness and protect the common house sparrows.

What does a sparrow symbolize?

The sparrow symbolizes simplicity, creativity, community, power, and empowerment. The sparrows are not independent birds but they are neither needy nor desperate.

Are sparrows the smartest birds?

Sparrows are smart and sharp birds but research has shown that parrots and the corvid family of crows, ravens, and jays are considered the smartest species.

How to Observe World Sparrow Day

Care for a sparrow

Organize walks and hikes

Create awareness about sparrows

Make nests, put water for sparrows during the summer season, and put bird feeders in gardens or any open area to protect the adorable bird. They’ll surely appreciate it.

Organize a sparrow-watching trip with your family and friends, feed the birds, take pictures to document, and create beautiful stickers or posters. You can create beautiful memories on this day.

Host a sparrow event and organize teachings that create awareness and enlighten people about sparrows. Also have entertainment like sparrow poetry, a photography contest, and a sparrow treasure hunt.

5 Interesting Facts About Sparrows

Once upon a time in Britain

A movement to the grain fields

The first day in the world

Sparrow Awards

Making of the World Sparrow Day

Sparrows were once one of Britain’s most common birds, however, their population has declined in recent years.

Although house sparrows are non-migratory birds, the urban flock had traditionally moved to the countryside to feed on ripening grain fields.

The first World Sparrow Day was celebrated in 2010 in different parts of the world.

The Nature Forever Society instituted the first Sparrow Awards in March 2011 to encourage the efforts made towards the cause and to selflessly conserve the environment.

The idea to mark World Sparrow Day came up during a discussion at the N.F.C’s office where the idea was to earmark a day for the conservation of the house sparrow and other common birds.

Why World Sparrow Day is Important

It’s a day to admire nature’s beauty

It is a time to spread  awareness on biodiversity conservation

It is a fun event

World Sparrow Day is a day to celebrate the conservation and protection of sparrows. It is also a day to admire the beauty of biodiversity and nature.

This day provides a meeting ground for people from different parts of the world to come together and play an important role in advocacy and spreading awareness of the need of conserving common biodiversity. We love this!

Various kinds of campaigns, events, and activities are organized on this day to encourage people to participate and contribute to the cause. See what you can do to help!

Source

[brookston]

Holidays 12.30

Holidays

Cleaning Day (Haiti)

Falling Needles Family Fest Day

Feast of the Holy Family

Festival of Enormous Changes at the Last Minute

Flail Day French Republic)

Freedom Day (Scientology)

Incwala Day (Eswatini, f.k.a. Swaziland)

International Day of Indian Cinema

Kodachrome Day

Let's Make A Deal Day

Lhosar (Gurung People, Nepal)

National Cheryl Day

National Resolution Planning Day

New Year’s Eve Eve

Rizal Day (Philippines)

Smart Highway Day

Take a Walk Show

Tamu Lochar (Sikkim, India)

Food & Drink Celebrations

Bacon Day [also 8.31]

Baking Soda Day

Coffee Day (Hawaii)

Drink With a Straw Day

International Day of the Donut

Kona Coffee Day

National Bicarbonate of Soda Day

5th & Last Saturday in December

Evergreen Tree Day [Last Saturday]

Last Saturday of the Year [Last Saturday]

Independence Days

Day of the Declaration of Slovakia as an Independent Ecclesiastic Province

Midget Nation-in-Exile (Declared; 2009) [unrecognized]

Northern Federation of Occidental Republics (Declared; 2012) [unrecognized]

USSR (Established, 1922)

Xenlandia (Declared; 2021) [unrecognized]

Feast Days

Abraham the Writer (Christian; Saint)

Anysia of Salonika (Christian; Saint)

Boxing the Jesuit Day (Church of the SubGenius)

The Clam (Muppetism)

Ecgwine of Worcester (Christian; Saint)

Egwin of Evesham (Christian; Saint)

Felix I, Pope (Christian; Saint)

Frances Joseph-Gaudet (Episcopal Church)

Gall (Positivist; Saint)

Get Drunk Early for Hogmanay Day (Pastafarian)

Kwanzaa, Day 5: Nia (Purpose)

Liberius of Ravenna (Christian; Saint)

Louis-Jean-François Lagrenée (Artology)

Maximus (Christian; Saint)

Obatala’s Day (Pagan)

Ralph of Vaucelles (Christian; Saint)

Roger (a.k.a. Ruggero) of Cannae (Christian; Saint)

Sabinus, Bishop of Assisi, and his companions (Christian; Martyrs)

Sixth Day of Christmas (a.k.a. Bringing in the Boar)

Twelve Holy Days #5 (Leo, the heart; Esoteric Christianity)

Twelvetide, Day #6 (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]

Lucky & Unlucky Days

Butsumetsu (仏滅 Japan) [Unlucky all day.]

Premieres

Alice, Darling (Film; 2022)

Aqua Teen Hunger Force (TV Cartoon Series; 2000)

Ben-Hur: A Tale of the Christ (Film; 1925)

Born to Die, by Lana Del Rey (Song; 2011)

The Curious Puppy (WB MM Cartoon; 1939)

Dallas (Film; 1950)

The Gallopin’ Gaucho (Disney Cartoon; 1928)

Kiss Me, Kate (Broadway Musical; 1948)

Let’s Make a Deal (TV game Show; 1963)

A Man Called Otto (Film; 2022)

The Merry Widow, by Franz Lehár (Operetta; 1905)

My Way, recorded by Frank Sinatra (Song; 1968)

Nelly’s Folly (WB MM Cartoon; 1961)

No Man of Her Own (Film; 1932)

Rob Roy, by Walter Scott (Novel; 1817)

The Roy Rogers Show (TV Series; 1951)

Some Came Running, by James Jones (Novel; 1957)

Sounder, by William H. Armstrong (Novel; 1969)

Tainted Dreams (TV Soap Opera; 2013)

Tangled Up In Blue, recorded by Bob Dylan (Song; 1974)

Tin Yop (Pixar Cartoon; 1988)

Two’s a Crowd (WB MM Cartoon; 1950)

Why Him? (Film; 2016)

Today’s Name Days

Felix, Lothar (Austria)

Feliks, Rajner, Srećko (Croatia)

David (Czech Republic)

David (Denmark)

Taave, Taavet, Taavi, Taavo, Tavo (Estonia)

Daavid, Taavetti, Taavi (Finland)

Roger (France)

Herma, Hermine, Minna (Germany)

Anisios, Filetairos, Gideon, Josef (Greece)

Dávid (Hungary)

Eugenio (Italy)

Dāvids, Dāvis (Latvia)

Dovydas, Gedrimė, Gražvilas, Irmina, Sabinas (Lithuania)

David, Diana, Dina (Norway)

Dawid, Dawida, Dionizy, Eugeniusz, Irmina, Katarzyna, Łazarz, Rainer, Sabin, Sewer, Uniedrog (Poland)

Anisia (Romania)

Dávid (Slovakia)

Judit, Judith, Raúl (Spain)

Abel, Set (Sweden)

Ainsley, Kelsa, Kelsey, Kelsi, Kelsie, Mason (USA)

Today is Also…

Day of Year: Day 364 of 2024; 1 days remaining in the year

ISO: Day 6 of week 52 of 2023

Celtic Tree Calendar: Beth (Birch) [Day 5 of 28]

Chinese: Month 12 (Jia-Zi), Day 18 (Ren-Xu)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 18 Teveth 5784

Islamic: 17 Jumada II 1445

J Cal: 4 Fest; Foursday [4 of 5]

Julian: 17 December 2023

Moon: 87%: Warning Gibbous

Positivist: 28 Bichat (13th Month) [Gall]

Runic Half Month: Eihwaz or Eoh (Yew Tree) [Day 5 of 15]

Season: Winter (Day 10 of 89)

Zodiac: Capricorn (Day 9 of 31)

[manasastuff-blog]

"Martyrs Day"#trending#viral

Martyrs Day Importance is deeply rooted in India's history, observed on January 30 to honour Mahatma Gandhi and countless freedom fighters who sacrificed their lives for the country. This day reminds us of their courage, patriotism, and selfless contributions.

Call:7799799221

Website:www.manasadefenceacademy.com

#MartyrsDay2025 #MahatmaGandhi#IndianFreedomStruggle#RememberingOurHeroes#SacrificeForNation

#TributeToMartyrs #January30#IndiaHistory#PatrioticIndia#RespectAndHonor#trending#viral

[apriltypes]

Can we go out ??

Yeah sure..wait..no.. I can't actually..

Why??? It's Independence Day..we have to go out and celebrate..

Yeah..well.."India" got Freedom.. Not "Me"!!

I still won't get permission from my parents.😢

Anyway...Happy Independence Day Y'all <3

[cleverhottubmiracle]

“Timeless” is one of those terms so often used to describe elegant clothing that it has practically lost all meaning—it’s a fashion cliché right up there with “effortless” and “modern.” That is, unless you’re talking about Giorgio Armani, for whom all those words sound exactly right.Does anyone have a stronger claim of ownership to the concept of timelessness than the Italian legend, who turned 90 last July and is now celebrating the 50th anniversary of his business? Like all successful designers, he will tell you that he always prefers to look forward, not back; but his commitment to a singular aesthetic throughout his career has resulted in designs that seemed breathtakingly new when they were introduced in the 1970s and ’80s—when he stripped the stiff linings from suit jackets and softened the shoulders—and still feel relevant and wearable today. The designer himself still looks very much like the same handsomely tanned man who is often called “the king” of Italian fashion.“For me, consistency does not mean rigidity,” says Armani, who, at the start of a year that is likely to be filled with opportunities for reflection, is experiencing emotions that he describes as both personal and profound. This is probably to be expected for someone who is being asked, for this feature, to recall key moments from his shows, which now number in the hundreds. They encompass his collections for Giorgio Armani; Emporio Armani; and his couture label, Armani Privé—not to mention the many Hollywood awards nights where the red carpet has become an extension of his runway. He remembers virtually every ensemble quite clearly. “I am extremely demanding, first and foremost with myself,” he says. “So, looking back, I might have done some things differently today, but I find myself surprised and sometimes even moved by the results of each collection.”Fall 1990“Choosing a well-defined territory of expression isn’t a limitation,” explains Giorgio Armani. “Rather, it expands the available possibilities. The masculine suit reinterpreted through a feminine lens, for instance, is a constant, subtle stimulus for exploration. This season, I worked with cannettato fabric cut horizontally, creating a surface vibration that extends to headwear.” Worn by Lou Hughes.Spring 1990“Being practical doesn’t make me any less of a dreamer— I simply dream while keeping my feet firmly on the ground. This collection, the first after the power dressing decade, marked a turning point for me with its dreamy exoticism and Paul Poiret–inspired refinements. It embodies an even softer vision. This ensemble, a fusion of India, Persia, and pure fantasy, perfectly expresses that vision.”Worn by Ella Dalton.Last October, after decades of parrying questions about the future of his brand—how long he intended to remain at its helm, and if he would ever give up his fiercely guarded independence—Armani made headlines when he told the Italian newspaper Corriere della Sera that he planned to retire within the next two to three years. But, in typical fashion, while opening a massive new flagship in New York just days later, he backtracked and told The Wall Street Journal that he had only been joking. Now he says, and not for the first time, that he owes his longevity both in business and in life to his determination to keep working every single day (“even when I’m on holiday”), combined with a balanced diet and daily exercise, a recipe that he plans to follow indefinitely. And why shouldn’t he, when Armani, who has insisted all along that “elegance is not about being noticed, it is about being remembered,” is once again having a moment?Asked how he might update his most famous dictum, he explains that there is no need. “It resonates even more today than when I first expressed it,” he says. “Timelessness is one of the greatest achievements in fashion, but also one of the hardest. In my view, this quality can be achieved only by subtracting, purifying, and focusing on the value of the garment, not on the stories it must tell, because the stories are ultimately told by the people who wear the clothes.”Spring 1981“I’m often identified as the designer of pure, timeless forms, the gentle classic. Yet I, too, have my moments of exuberance, and this collection is certainly an example of that, a blend of military-inspired jackets, bloomer-like elements, warrior-inspired bodices, and echoes of Japanese influence.”Worn by Yar Aguer and Lou Hughes.Armani joins a rarefied club of designers who have reached the half-century mark, which today includes Rei Kawakubo of Comme des Garçons (founded in 1973) and Yohji Yamamoto (1972) in Japan; Paul Smith (1970) in England; and Norma Kamali (whose first store opened in 1967) and Ralph Lauren (1967) in America. He sees several characteristics that they all have in common: “independence of thought, consistency, the radical choice to work on a singular aesthetic, and the ability not to be swayed by fleeting trends. What I believe has helped me endure as a brand over these years is precisely my commitment to a well-defined style that has evolved over time.”Armani didn’t start his own business until he was 41—he first worked for La Rinascente department store in Milan and the designer Nino Cerruti, among others—which gave him the benefit of experience and maturity. It was as if he had appeared on the scene a fully formed designer. He and his partner, Sergio Galeotti, founded their company in 1975, starting with men’s suits in gently draped luxury fabrics. These became so popular so quickly that the designer introduced womenswear soon after. “Discovering a man like Armani is impossible, because he discovered himself,” Cerruti told Time magazine in 1982. “Men like Armani are so rare that when one emerges even the blind are aware of it.”Fall 2002“Before each collection, I stop to reflect and assess the state of things: Has vulgarity become a kind of aesthetic category? Is the need for clarity applicable to fashion? How can a sense of quality be conveyed without ostentation? Even a fully embroidered jumpsuit can embody balance. It’s a matter of cut and how the body is concealed or revealed.”Worn by Laura Savy.Fall 2012“A woman wearing a man’s suit is my most recognizable and enduring signature,” says Armani. “It reflects an appreciation for classic style and restraint, but also a touch of eccentricity in subverting the rules. To me, this is modern dressing, and this interpretation, extreme in both its softness and its masculine accessories, is one of my finest.”Worn by Lou Hughes.Even so, it couldn’t have occurred to Armani or Galeotti, who died of AIDS only a decade later, that they were creating an empire that would go on to have sales of $2.6 billion in 2023. “The early years were entirely dedicated to building the brand,” recalls Armani. “At the time, we were too busy in the fashion trenches to think about how long it would last or what milestones we might achieve.” Of Galeotti, the dashing young draftsman he met while on a seaside holiday in 1966, who pushed Armani to go out on his own, he says, “I cannot and do not want to forget him.”Armani became a household name in America in the 1980s, following the release of American Gigolo, for which he had outfitted Richard Gere’s character, Julian Kay. His subtly androgynous suits—the yuppies’ uniform for power dressing—became emblematic not only of the new look of Hollywood royalty but also of the shifting dynamics of gender roles in the workplace. Armani’s stripped-down “greige” fashion aesthetic effectively served as a gender equalizer, as his menswear became softer and his womenswear tougher. If there is one way in which his designs have noticeably evolved over five decades, it is that Armani sees less reason to blur boundaries today. “Women in the workplace no longer have to dress like men to be taken seriously,” he says. “A greater femininity in clothing is no longer at odds with authority. Of course, we are still far from absolute equality, but in my work this evolution has resolved itself perfectly.”Fall 1995“This Giovanni Boldini–inspired dress is sensual yet high-necked, with tattoo-like embroidery on a sheath of black stretch tulle that leaves both little and much to the imagination.”Worn by Ella Dalton.Still, Armani says he didn’t feel he had created something truly significant until the 1990s, once he had taken on responsibility for the business—he is also the chief executive of his company—and introduced new labels and products that would eventually include homeware, hotels, and chocolates. Those who have worked with Armani the longest attest that he can be a taskmaster with a notorious eye for detail, but they also point to his discipline and drive. “I have always been struck by his belief in simplification—or subtraction, as he calls it,” says his niece Roberta Armani, the global head of entertainment industry relations, who 25 years ago left behind a career as an actor to join her uncle’s company. “But this is not just a design philosophy; it’s a philosophy for life, too.”This year is also significant for Armani because it marks the 20th anniversary of Armani Privé and the 10th anniversary of Armani/Silos, the exhibition and educational space he opened in Milan, on the same strip of via Bergognone where his offices and the theater he designed with Tadao Ando are located. It’s been a dream of his, he says, to exhibit his couture there so that people can appreciate his other side. Armani is by nature pragmatic and restrained, and believes it is the responsibility of Italian designers to produce fashion that is more commercial than creative. “Our work is meant to truly clothe people, not to produce concepts, ideas, or art,” he says. But the couture, which is shown in Paris, “adopts a more precious, lighter, even playful language.” It’s not exactly wild and crazy, but it does allow Armani a break from the fundamental codes by which he otherwise strictly lives, in which each collection must evolve directly from the last one—never a disavowal, never a regret. “I don’t like resting on my laurels or boasting,” he says. “What comes next is always more interesting to me than what I’ve already done.”Fall 1986“I have a long-standing love for velvet. I admire its softness, which can lift the rigidity from even the most austere garment, and its subtle glow. I always explore it in my own way, with poetry but without nostalgia.”Worn by Yar Aguer.Roberta Armani says her uncle is actually very funny. “The image of him as a super-serious creative is only part of the story,” she says. “There is a touch of eccentricity running through him and his work.” Take his aforementioned diet and exercise routine. “I do muscle-strengthening exercises, walk every day, and get massages every evening,” he says. “My diet is very healthy, almost entirely vegetarian, and I don’t drink alcohol. I love pasta, especially spaghetti all’olio, and risottos, too—both alla Milanese and alla Parmigiana. Although I’m not particularly fond of them, I eat plenty of vegetables, and once a week I treat myself to a grilled sole or chicken breast. My only indulgence is sweets—dark chocolate, hazelnut ice cream in summer, and tiramisu or panettone during the holidays.”Nothing becomes easier with age, Armani notes, but the creative process is smoother, and that gives him more time to reflect on both the past and the future. He has always been particularly drawn to the aesthetic of the decade of his birth, the 1930s, an era of modernity and taboo breaking in fashion, art, and furniture, but also a period of great global conflicts that significantly shaped his worldview. His childhood in Piacenza, to the southeast of Milan, was scarred by the atrocities he witnessed during World War II, and as a boy he was severely burned in an explosion after some friends discovered and began playing with gunpowder they had found in empty barracks. When Armani senses parallels between that time and the uncertainty of the current moment, he becomes uncharacteristically pessimistic.Spring 2025“A long, airy, and fluid silhouette that recalls the allure of the 1930s, blended with Eastern influences for a collection imagined as a journey, with shades of beige, blush, and powder blue. Surfaces echo distant cultures through embroidery.”Worn by Anna Robinson.Fall 1993“I like contrasts but not ambiguity, and I explore this from season to season, alternating between classic balance and breaking the rules,” says Armani. “It might be another men’s suit, this time pinstriped but entirely covered in crystals, or a passionate, all-encompassing explosion of red, the most emotional and intense of colors.”Worn by Lou Hughes and Ella Dalton.“I find the world today surprising at times, frightening at others,” he says. “It is open, full of discoveries, and equipped with tools that connect us, broaden our perspectives, expand our contacts, and increase our knowledge. Yet, despite all this progress, it still seems governed by harsh logics of exploitation and violence. There are still too many wars and too much poverty for us to speak of true progress. Having experienced war firsthand, I find this scenario profoundly alarming. I would like there to be more respect. This is a utopia perhaps, but one we should all strive to make real.”In a way, that is what Armani has been doing for most of his career: creating his own vision of utopia through fashion. Having defied some critics who once sniped that his collections were too repetitive, and others who called for him to adapt to the trends of the moment, he could surely say he’s had the last laugh by now—not that he ever would.Does he ever feel like he’s got nothing left to prove?“If that thought had ever occurred to me, I would have stopped working immediately,” says Armani. “Yet here I am.”Snapshots from Giorgio Armani’s storied 50-year career.Top row, from left: The designer at home in Milan with his dog, Gigi, in 1972; on the catwalk with his models in Hamburg, Germany, 1997; with two looks from the Spring 1989 collection. Second row, from left: Armani sizing up the spring 1998 ready-to-wear collection with his niece Roberta; the young designer in 1973; riding a motorbike with Lauren Hutton. Third row, from left: Armani on Time magazine’s cover, 1982; his first runway presentation, 1975; at his retrospective at the Fashion Institute of Technology, in New York, c. 1990; a sketch from the fall 1980 collection; with his mother, Maria, in 1987. Bottom row, from left: An Emporio Armani Junior campaign image from 1984; on the runway at the fall 2024 Armani Privé haute couture show in Paris; the March–August 1994 issue of Emporio Armani magazine.Hair by Cyndia Harvey at Art Partner; makeup by Hiromi Ueda for Armani Beauty at Art + Commerce; manicure by Lauren Michelle Pires for CND. Set design by Andrew Tomlinson at Streeters.Models: Lou Hughes, Yar Aguer, Anna Robinson at NEXT Management London; Charlotte Boggia at Select Model Management London; Ella Dalton, Laura Savy at Society Management; Casting by Ashley Brokaw Casting; Produced by Partner Films; Producers: Lola Sharrock, Cindy Parthonnaud; Photo Assistants: Albi Gualtieri, Thomas Lombard, Sapphire Stewart; Digital Technician: Bella Sporle; Retoucher: Aly studio; Fashion Assistant: Salomé Rouquet; Production Assistants: Ash Renshaw, Freddie Nickerson; Hair Assistants: Leanne Millar, Karen Bradshaw, Aminata Kamara; Makeup Assistants: Pia Gartner, Rina Inata; Manicure Assistant: Megan Cummings; Set Assistants: Brad Barrett, Charlie Fowle.Giorgio Armani Collage: Top row, from left: Fairchild Archive/Penske Media via Getty Images; Stefan Hesse/Picture Alliance via Getty Images; John Minihan/ANL/Shutterstock. Second row, from left: Francois Goudier/Gamma-Rapho via Getty Images; Leonardo Cendamo/Getty Images; Isabel Snyder, Courtesy of Giorgio Armani. Third row, from left: RiskyWalls/Alamy Stock Photo; Courtesy of Giorgio Armani; Bernard Weil/Toronto Star via Getty Images; Courtesy of Giorgio Armani; Vittoriano Rastelli/CORBIS/Corbis via Getty Images. Bottom row, from left: Aldo Fallai, Courtesy of Giorgio Armani; Marc Piasecki/WireImage; Courtesy of Giorgio Armani. Source link

[norajworld]

“Timeless” is one of those terms so often used to describe elegant clothing that it has practically lost all meaning—it’s a fashion cliché right up there with “effortless” and “modern.” That is, unless you’re talking about Giorgio Armani, for whom all those words sound exactly right.Does anyone have a stronger claim of ownership to the concept of timelessness than the Italian legend, who turned 90 last July and is now celebrating the 50th anniversary of his business? Like all successful designers, he will tell you that he always prefers to look forward, not back; but his commitment to a singular aesthetic throughout his career has resulted in designs that seemed breathtakingly new when they were introduced in the 1970s and ’80s—when he stripped the stiff linings from suit jackets and softened the shoulders—and still feel relevant and wearable today. The designer himself still looks very much like the same handsomely tanned man who is often called “the king” of Italian fashion.“For me, consistency does not mean rigidity,” says Armani, who, at the start of a year that is likely to be filled with opportunities for reflection, is experiencing emotions that he describes as both personal and profound. This is probably to be expected for someone who is being asked, for this feature, to recall key moments from his shows, which now number in the hundreds. They encompass his collections for Giorgio Armani; Emporio Armani; and his couture label, Armani Privé—not to mention the many Hollywood awards nights where the red carpet has become an extension of his runway. He remembers virtually every ensemble quite clearly. “I am extremely demanding, first and foremost with myself,” he says. “So, looking back, I might have done some things differently today, but I find myself surprised and sometimes even moved by the results of each collection.”Fall 1990“Choosing a well-defined territory of expression isn’t a limitation,” explains Giorgio Armani. “Rather, it expands the available possibilities. The masculine suit reinterpreted through a feminine lens, for instance, is a constant, subtle stimulus for exploration. This season, I worked with cannettato fabric cut horizontally, creating a surface vibration that extends to headwear.” Worn by Lou Hughes.Spring 1990“Being practical doesn’t make me any less of a dreamer— I simply dream while keeping my feet firmly on the ground. This collection, the first after the power dressing decade, marked a turning point for me with its dreamy exoticism and Paul Poiret–inspired refinements. It embodies an even softer vision. This ensemble, a fusion of India, Persia, and pure fantasy, perfectly expresses that vision.”Worn by Ella Dalton.Last October, after decades of parrying questions about the future of his brand—how long he intended to remain at its helm, and if he would ever give up his fiercely guarded independence—Armani made headlines when he told the Italian newspaper Corriere della Sera that he planned to retire within the next two to three years. But, in typical fashion, while opening a massive new flagship in New York just days later, he backtracked and told The Wall Street Journal that he had only been joking. Now he says, and not for the first time, that he owes his longevity both in business and in life to his determination to keep working every single day (“even when I’m on holiday”), combined with a balanced diet and daily exercise, a recipe that he plans to follow indefinitely. And why shouldn’t he, when Armani, who has insisted all along that “elegance is not about being noticed, it is about being remembered,” is once again having a moment?Asked how he might update his most famous dictum, he explains that there is no need. “It resonates even more today than when I first expressed it,” he says. “Timelessness is one of the greatest achievements in fashion, but also one of the hardest. In my view, this quality can be achieved only by subtracting, purifying, and focusing on the value of the garment, not on the stories it must tell, because the stories are ultimately told by the people who wear the clothes.”Spring 1981“I’m often identified as the designer of pure, timeless forms, the gentle classic. Yet I, too, have my moments of exuberance, and this collection is certainly an example of that, a blend of military-inspired jackets, bloomer-like elements, warrior-inspired bodices, and echoes of Japanese influence.”Worn by Yar Aguer and Lou Hughes.Armani joins a rarefied club of designers who have reached the half-century mark, which today includes Rei Kawakubo of Comme des Garçons (founded in 1973) and Yohji Yamamoto (1972) in Japan; Paul Smith (1970) in England; and Norma Kamali (whose first store opened in 1967) and Ralph Lauren (1967) in America. He sees several characteristics that they all have in common: “independence of thought, consistency, the radical choice to work on a singular aesthetic, and the ability not to be swayed by fleeting trends. What I believe has helped me endure as a brand over these years is precisely my commitment to a well-defined style that has evolved over time.”Armani didn’t start his own business until he was 41—he first worked for La Rinascente department store in Milan and the designer Nino Cerruti, among others—which gave him the benefit of experience and maturity. It was as if he had appeared on the scene a fully formed designer. He and his partner, Sergio Galeotti, founded their company in 1975, starting with men’s suits in gently draped luxury fabrics. These became so popular so quickly that the designer introduced womenswear soon after. “Discovering a man like Armani is impossible, because he discovered himself,” Cerruti told Time magazine in 1982. “Men like Armani are so rare that when one emerges even the blind are aware of it.”Fall 2002“Before each collection, I stop to reflect and assess the state of things: Has vulgarity become a kind of aesthetic category? Is the need for clarity applicable to fashion? How can a sense of quality be conveyed without ostentation? Even a fully embroidered jumpsuit can embody balance. It’s a matter of cut and how the body is concealed or revealed.”Worn by Laura Savy.Fall 2012“A woman wearing a man’s suit is my most recognizable and enduring signature,” says Armani. “It reflects an appreciation for classic style and restraint, but also a touch of eccentricity in subverting the rules. To me, this is modern dressing, and this interpretation, extreme in both its softness and its masculine accessories, is one of my finest.”Worn by Lou Hughes.Even so, it couldn’t have occurred to Armani or Galeotti, who died of AIDS only a decade later, that they were creating an empire that would go on to have sales of $2.6 billion in 2023. “The early years were entirely dedicated to building the brand,” recalls Armani. “At the time, we were too busy in the fashion trenches to think about how long it would last or what milestones we might achieve.” Of Galeotti, the dashing young draftsman he met while on a seaside holiday in 1966, who pushed Armani to go out on his own, he says, “I cannot and do not want to forget him.”Armani became a household name in America in the 1980s, following the release of American Gigolo, for which he had outfitted Richard Gere’s character, Julian Kay. His subtly androgynous suits—the yuppies’ uniform for power dressing—became emblematic not only of the new look of Hollywood royalty but also of the shifting dynamics of gender roles in the workplace. Armani’s stripped-down “greige” fashion aesthetic effectively served as a gender equalizer, as his menswear became softer and his womenswear tougher. If there is one way in which his designs have noticeably evolved over five decades, it is that Armani sees less reason to blur boundaries today. “Women in the workplace no longer have to dress like men to be taken seriously,” he says. “A greater femininity in clothing is no longer at odds with authority. Of course, we are still far from absolute equality, but in my work this evolution has resolved itself perfectly.”Fall 1995“This Giovanni Boldini–inspired dress is sensual yet high-necked, with tattoo-like embroidery on a sheath of black stretch tulle that leaves both little and much to the imagination.”Worn by Ella Dalton.Still, Armani says he didn’t feel he had created something truly significant until the 1990s, once he had taken on responsibility for the business—he is also the chief executive of his company—and introduced new labels and products that would eventually include homeware, hotels, and chocolates. Those who have worked with Armani the longest attest that he can be a taskmaster with a notorious eye for detail, but they also point to his discipline and drive. “I have always been struck by his belief in simplification—or subtraction, as he calls it,” says his niece Roberta Armani, the global head of entertainment industry relations, who 25 years ago left behind a career as an actor to join her uncle’s company. “But this is not just a design philosophy; it’s a philosophy for life, too.”This year is also significant for Armani because it marks the 20th anniversary of Armani Privé and the 10th anniversary of Armani/Silos, the exhibition and educational space he opened in Milan, on the same strip of via Bergognone where his offices and the theater he designed with Tadao Ando are located. It’s been a dream of his, he says, to exhibit his couture there so that people can appreciate his other side. Armani is by nature pragmatic and restrained, and believes it is the responsibility of Italian designers to produce fashion that is more commercial than creative. “Our work is meant to truly clothe people, not to produce concepts, ideas, or art,” he says. But the couture, which is shown in Paris, “adopts a more precious, lighter, even playful language.” It’s not exactly wild and crazy, but it does allow Armani a break from the fundamental codes by which he otherwise strictly lives, in which each collection must evolve directly from the last one—never a disavowal, never a regret. “I don’t like resting on my laurels or boasting,” he says. “What comes next is always more interesting to me than what I’ve already done.”Fall 1986“I have a long-standing love for velvet. I admire its softness, which can lift the rigidity from even the most austere garment, and its subtle glow. I always explore it in my own way, with poetry but without nostalgia.”Worn by Yar Aguer.Roberta Armani says her uncle is actually very funny. “The image of him as a super-serious creative is only part of the story,” she says. “There is a touch of eccentricity running through him and his work.” Take his aforementioned diet and exercise routine. “I do muscle-strengthening exercises, walk every day, and get massages every evening,” he says. “My diet is very healthy, almost entirely vegetarian, and I don’t drink alcohol. I love pasta, especially spaghetti all’olio, and risottos, too—both alla Milanese and alla Parmigiana. Although I’m not particularly fond of them, I eat plenty of vegetables, and once a week I treat myself to a grilled sole or chicken breast. My only indulgence is sweets—dark chocolate, hazelnut ice cream in summer, and tiramisu or panettone during the holidays.”Nothing becomes easier with age, Armani notes, but the creative process is smoother, and that gives him more time to reflect on both the past and the future. He has always been particularly drawn to the aesthetic of the decade of his birth, the 1930s, an era of modernity and taboo breaking in fashion, art, and furniture, but also a period of great global conflicts that significantly shaped his worldview. His childhood in Piacenza, to the southeast of Milan, was scarred by the atrocities he witnessed during World War II, and as a boy he was severely burned in an explosion after some friends discovered and began playing with gunpowder they had found in empty barracks. When Armani senses parallels between that time and the uncertainty of the current moment, he becomes uncharacteristically pessimistic.Spring 2025“A long, airy, and fluid silhouette that recalls the allure of the 1930s, blended with Eastern influences for a collection imagined as a journey, with shades of beige, blush, and powder blue. Surfaces echo distant cultures through embroidery.”Worn by Anna Robinson.Fall 1993“I like contrasts but not ambiguity, and I explore this from season to season, alternating between classic balance and breaking the rules,” says Armani. “It might be another men’s suit, this time pinstriped but entirely covered in crystals, or a passionate, all-encompassing explosion of red, the most emotional and intense of colors.”Worn by Lou Hughes and Ella Dalton.“I find the world today surprising at times, frightening at others,” he says. “It is open, full of discoveries, and equipped with tools that connect us, broaden our perspectives, expand our contacts, and increase our knowledge. Yet, despite all this progress, it still seems governed by harsh logics of exploitation and violence. There are still too many wars and too much poverty for us to speak of true progress. Having experienced war firsthand, I find this scenario profoundly alarming. I would like there to be more respect. This is a utopia perhaps, but one we should all strive to make real.”In a way, that is what Armani has been doing for most of his career: creating his own vision of utopia through fashion. Having defied some critics who once sniped that his collections were too repetitive, and others who called for him to adapt to the trends of the moment, he could surely say he’s had the last laugh by now—not that he ever would.Does he ever feel like he’s got nothing left to prove?“If that thought had ever occurred to me, I would have stopped working immediately,” says Armani. “Yet here I am.”Snapshots from Giorgio Armani’s storied 50-year career.Top row, from left: The designer at home in Milan with his dog, Gigi, in 1972; on the catwalk with his models in Hamburg, Germany, 1997; with two looks from the Spring 1989 collection. Second row, from left: Armani sizing up the spring 1998 ready-to-wear collection with his niece Roberta; the young designer in 1973; riding a motorbike with Lauren Hutton. Third row, from left: Armani on Time magazine’s cover, 1982; his first runway presentation, 1975; at his retrospective at the Fashion Institute of Technology, in New York, c. 1990; a sketch from the fall 1980 collection; with his mother, Maria, in 1987. Bottom row, from left: An Emporio Armani Junior campaign image from 1984; on the runway at the fall 2024 Armani Privé haute couture show in Paris; the March–August 1994 issue of Emporio Armani magazine.Hair by Cyndia Harvey at Art Partner; makeup by Hiromi Ueda for Armani Beauty at Art + Commerce; manicure by Lauren Michelle Pires for CND. Set design by Andrew Tomlinson at Streeters.Models: Lou Hughes, Yar Aguer, Anna Robinson at NEXT Management London; Charlotte Boggia at Select Model Management London; Ella Dalton, Laura Savy at Society Management; Casting by Ashley Brokaw Casting; Produced by Partner Films; Producers: Lola Sharrock, Cindy Parthonnaud; Photo Assistants: Albi Gualtieri, Thomas Lombard, Sapphire Stewart; Digital Technician: Bella Sporle; Retoucher: Aly studio; Fashion Assistant: Salomé Rouquet; Production Assistants: Ash Renshaw, Freddie Nickerson; Hair Assistants: Leanne Millar, Karen Bradshaw, Aminata Kamara; Makeup Assistants: Pia Gartner, Rina Inata; Manicure Assistant: Megan Cummings; Set Assistants: Brad Barrett, Charlie Fowle.Giorgio Armani Collage: Top row, from left: Fairchild Archive/Penske Media via Getty Images; Stefan Hesse/Picture Alliance via Getty Images; John Minihan/ANL/Shutterstock. Second row, from left: Francois Goudier/Gamma-Rapho via Getty Images; Leonardo Cendamo/Getty Images; Isabel Snyder, Courtesy of Giorgio Armani. Third row, from left: RiskyWalls/Alamy Stock Photo; Courtesy of Giorgio Armani; Bernard Weil/Toronto Star via Getty Images; Courtesy of Giorgio Armani; Vittoriano Rastelli/CORBIS/Corbis via Getty Images. Bottom row, from left: Aldo Fallai, Courtesy of Giorgio Armani; Marc Piasecki/WireImage; Courtesy of Giorgio Armani. Source link

[ellajme0]

“Timeless” is one of those terms so often used to describe elegant clothing that it has practically lost all meaning—it’s a fashion cliché right up there with “effortless” and “modern.” That is, unless you’re talking about Giorgio Armani, for whom all those words sound exactly right.Does anyone have a stronger claim of ownership to the concept of timelessness than the Italian legend, who turned 90 last July and is now celebrating the 50th anniversary of his business? Like all successful designers, he will tell you that he always prefers to look forward, not back; but his commitment to a singular aesthetic throughout his career has resulted in designs that seemed breathtakingly new when they were introduced in the 1970s and ’80s—when he stripped the stiff linings from suit jackets and softened the shoulders—and still feel relevant and wearable today. The designer himself still looks very much like the same handsomely tanned man who is often called “the king” of Italian fashion.“For me, consistency does not mean rigidity,” says Armani, who, at the start of a year that is likely to be filled with opportunities for reflection, is experiencing emotions that he describes as both personal and profound. This is probably to be expected for someone who is being asked, for this feature, to recall key moments from his shows, which now number in the hundreds. They encompass his collections for Giorgio Armani; Emporio Armani; and his couture label, Armani Privé—not to mention the many Hollywood awards nights where the red carpet has become an extension of his runway. He remembers virtually every ensemble quite clearly. “I am extremely demanding, first and foremost with myself,” he says. “So, looking back, I might have done some things differently today, but I find myself surprised and sometimes even moved by the results of each collection.”Fall 1990“Choosing a well-defined territory of expression isn’t a limitation,” explains Giorgio Armani. “Rather, it expands the available possibilities. The masculine suit reinterpreted through a feminine lens, for instance, is a constant, subtle stimulus for exploration. This season, I worked with cannettato fabric cut horizontally, creating a surface vibration that extends to headwear.” Worn by Lou Hughes.Spring 1990“Being practical doesn’t make me any less of a dreamer— I simply dream while keeping my feet firmly on the ground. This collection, the first after the power dressing decade, marked a turning point for me with its dreamy exoticism and Paul Poiret–inspired refinements. It embodies an even softer vision. This ensemble, a fusion of India, Persia, and pure fantasy, perfectly expresses that vision.”Worn by Ella Dalton.Last October, after decades of parrying questions about the future of his brand—how long he intended to remain at its helm, and if he would ever give up his fiercely guarded independence—Armani made headlines when he told the Italian newspaper Corriere della Sera that he planned to retire within the next two to three years. But, in typical fashion, while opening a massive new flagship in New York just days later, he backtracked and told The Wall Street Journal that he had only been joking. Now he says, and not for the first time, that he owes his longevity both in business and in life to his determination to keep working every single day (“even when I’m on holiday”), combined with a balanced diet and daily exercise, a recipe that he plans to follow indefinitely. And why shouldn’t he, when Armani, who has insisted all along that “elegance is not about being noticed, it is about being remembered,” is once again having a moment?Asked how he might update his most famous dictum, he explains that there is no need. “It resonates even more today than when I first expressed it,” he says. “Timelessness is one of the greatest achievements in fashion, but also one of the hardest. In my view, this quality can be achieved only by subtracting, purifying, and focusing on the value of the garment, not on the stories it must tell, because the stories are ultimately told by the people who wear the clothes.”Spring 1981“I’m often identified as the designer of pure, timeless forms, the gentle classic. Yet I, too, have my moments of exuberance, and this collection is certainly an example of that, a blend of military-inspired jackets, bloomer-like elements, warrior-inspired bodices, and echoes of Japanese influence.”Worn by Yar Aguer and Lou Hughes.Armani joins a rarefied club of designers who have reached the half-century mark, which today includes Rei Kawakubo of Comme des Garçons (founded in 1973) and Yohji Yamamoto (1972) in Japan; Paul Smith (1970) in England; and Norma Kamali (whose first store opened in 1967) and Ralph Lauren (1967) in America. He sees several characteristics that they all have in common: “independence of thought, consistency, the radical choice to work on a singular aesthetic, and the ability not to be swayed by fleeting trends. What I believe has helped me endure as a brand over these years is precisely my commitment to a well-defined style that has evolved over time.”Armani didn’t start his own business until he was 41—he first worked for La Rinascente department store in Milan and the designer Nino Cerruti, among others—which gave him the benefit of experience and maturity. It was as if he had appeared on the scene a fully formed designer. He and his partner, Sergio Galeotti, founded their company in 1975, starting with men’s suits in gently draped luxury fabrics. These became so popular so quickly that the designer introduced womenswear soon after. “Discovering a man like Armani is impossible, because he discovered himself,” Cerruti told Time magazine in 1982. “Men like Armani are so rare that when one emerges even the blind are aware of it.”Fall 2002“Before each collection, I stop to reflect and assess the state of things: Has vulgarity become a kind of aesthetic category? Is the need for clarity applicable to fashion? How can a sense of quality be conveyed without ostentation? Even a fully embroidered jumpsuit can embody balance. It’s a matter of cut and how the body is concealed or revealed.”Worn by Laura Savy.Fall 2012“A woman wearing a man’s suit is my most recognizable and enduring signature,” says Armani. “It reflects an appreciation for classic style and restraint, but also a touch of eccentricity in subverting the rules. To me, this is modern dressing, and this interpretation, extreme in both its softness and its masculine accessories, is one of my finest.”Worn by Lou Hughes.Even so, it couldn’t have occurred to Armani or Galeotti, who died of AIDS only a decade later, that they were creating an empire that would go on to have sales of $2.6 billion in 2023. “The early years were entirely dedicated to building the brand,” recalls Armani. “At the time, we were too busy in the fashion trenches to think about how long it would last or what milestones we might achieve.” Of Galeotti, the dashing young draftsman he met while on a seaside holiday in 1966, who pushed Armani to go out on his own, he says, “I cannot and do not want to forget him.”Armani became a household name in America in the 1980s, following the release of American Gigolo, for which he had outfitted Richard Gere’s character, Julian Kay. His subtly androgynous suits—the yuppies’ uniform for power dressing—became emblematic not only of the new look of Hollywood royalty but also of the shifting dynamics of gender roles in the workplace. Armani’s stripped-down “greige” fashion aesthetic effectively served as a gender equalizer, as his menswear became softer and his womenswear tougher. If there is one way in which his designs have noticeably evolved over five decades, it is that Armani sees less reason to blur boundaries today. “Women in the workplace no longer have to dress like men to be taken seriously,” he says. “A greater femininity in clothing is no longer at odds with authority. Of course, we are still far from absolute equality, but in my work this evolution has resolved itself perfectly.”Fall 1995“This Giovanni Boldini–inspired dress is sensual yet high-necked, with tattoo-like embroidery on a sheath of black stretch tulle that leaves both little and much to the imagination.”Worn by Ella Dalton.Still, Armani says he didn’t feel he had created something truly significant until the 1990s, once he had taken on responsibility for the business—he is also the chief executive of his company—and introduced new labels and products that would eventually include homeware, hotels, and chocolates. Those who have worked with Armani the longest attest that he can be a taskmaster with a notorious eye for detail, but they also point to his discipline and drive. “I have always been struck by his belief in simplification—or subtraction, as he calls it,” says his niece Roberta Armani, the global head of entertainment industry relations, who 25 years ago left behind a career as an actor to join her uncle’s company. “But this is not just a design philosophy; it’s a philosophy for life, too.”This year is also significant for Armani because it marks the 20th anniversary of Armani Privé and the 10th anniversary of Armani/Silos, the exhibition and educational space he opened in Milan, on the same strip of via Bergognone where his offices and the theater he designed with Tadao Ando are located. It’s been a dream of his, he says, to exhibit his couture there so that people can appreciate his other side. Armani is by nature pragmatic and restrained, and believes it is the responsibility of Italian designers to produce fashion that is more commercial than creative. “Our work is meant to truly clothe people, not to produce concepts, ideas, or art,” he says. But the couture, which is shown in Paris, “adopts a more precious, lighter, even playful language.” It’s not exactly wild and crazy, but it does allow Armani a break from the fundamental codes by which he otherwise strictly lives, in which each collection must evolve directly from the last one—never a disavowal, never a regret. “I don’t like resting on my laurels or boasting,” he says. “What comes next is always more interesting to me than what I’ve already done.”Fall 1986“I have a long-standing love for velvet. I admire its softness, which can lift the rigidity from even the most austere garment, and its subtle glow. I always explore it in my own way, with poetry but without nostalgia.”Worn by Yar Aguer.Roberta Armani says her uncle is actually very funny. “The image of him as a super-serious creative is only part of the story,” she says. “There is a touch of eccentricity running through him and his work.” Take his aforementioned diet and exercise routine. “I do muscle-strengthening exercises, walk every day, and get massages every evening,” he says. “My diet is very healthy, almost entirely vegetarian, and I don’t drink alcohol. I love pasta, especially spaghetti all’olio, and risottos, too—both alla Milanese and alla Parmigiana. Although I’m not particularly fond of them, I eat plenty of vegetables, and once a week I treat myself to a grilled sole or chicken breast. My only indulgence is sweets—dark chocolate, hazelnut ice cream in summer, and tiramisu or panettone during the holidays.”Nothing becomes easier with age, Armani notes, but the creative process is smoother, and that gives him more time to reflect on both the past and the future. He has always been particularly drawn to the aesthetic of the decade of his birth, the 1930s, an era of modernity and taboo breaking in fashion, art, and furniture, but also a period of great global conflicts that significantly shaped his worldview. His childhood in Piacenza, to the southeast of Milan, was scarred by the atrocities he witnessed during World War II, and as a boy he was severely burned in an explosion after some friends discovered and began playing with gunpowder they had found in empty barracks. When Armani senses parallels between that time and the uncertainty of the current moment, he becomes uncharacteristically pessimistic.Spring 2025“A long, airy, and fluid silhouette that recalls the allure of the 1930s, blended with Eastern influences for a collection imagined as a journey, with shades of beige, blush, and powder blue. Surfaces echo distant cultures through embroidery.”Worn by Anna Robinson.Fall 1993“I like contrasts but not ambiguity, and I explore this from season to season, alternating between classic balance and breaking the rules,” says Armani. “It might be another men’s suit, this time pinstriped but entirely covered in crystals, or a passionate, all-encompassing explosion of red, the most emotional and intense of colors.”Worn by Lou Hughes and Ella Dalton.“I find the world today surprising at times, frightening at others,” he says. “It is open, full of discoveries, and equipped with tools that connect us, broaden our perspectives, expand our contacts, and increase our knowledge. Yet, despite all this progress, it still seems governed by harsh logics of exploitation and violence. There are still too many wars and too much poverty for us to speak of true progress. Having experienced war firsthand, I find this scenario profoundly alarming. I would like there to be more respect. This is a utopia perhaps, but one we should all strive to make real.”In a way, that is what Armani has been doing for most of his career: creating his own vision of utopia through fashion. Having defied some critics who once sniped that his collections were too repetitive, and others who called for him to adapt to the trends of the moment, he could surely say he’s had the last laugh by now—not that he ever would.Does he ever feel like he’s got nothing left to prove?“If that thought had ever occurred to me, I would have stopped working immediately,” says Armani. “Yet here I am.”Snapshots from Giorgio Armani’s storied 50-year career.Top row, from left: The designer at home in Milan with his dog, Gigi, in 1972; on the catwalk with his models in Hamburg, Germany, 1997; with two looks from the Spring 1989 collection. Second row, from left: Armani sizing up the spring 1998 ready-to-wear collection with his niece Roberta; the young designer in 1973; riding a motorbike with Lauren Hutton. Third row, from left: Armani on Time magazine’s cover, 1982; his first runway presentation, 1975; at his retrospective at the Fashion Institute of Technology, in New York, c. 1990; a sketch from the fall 1980 collection; with his mother, Maria, in 1987. Bottom row, from left: An Emporio Armani Junior campaign image from 1984; on the runway at the fall 2024 Armani Privé haute couture show in Paris; the March–August 1994 issue of Emporio Armani magazine.Hair by Cyndia Harvey at Art Partner; makeup by Hiromi Ueda for Armani Beauty at Art + Commerce; manicure by Lauren Michelle Pires for CND. Set design by Andrew Tomlinson at Streeters.Models: Lou Hughes, Yar Aguer, Anna Robinson at NEXT Management London; Charlotte Boggia at Select Model Management London; Ella Dalton, Laura Savy at Society Management; Casting by Ashley Brokaw Casting; Produced by Partner Films; Producers: Lola Sharrock, Cindy Parthonnaud; Photo Assistants: Albi Gualtieri, Thomas Lombard, Sapphire Stewart; Digital Technician: Bella Sporle; Retoucher: Aly studio; Fashion Assistant: Salomé Rouquet; Production Assistants: Ash Renshaw, Freddie Nickerson; Hair Assistants: Leanne Millar, Karen Bradshaw, Aminata Kamara; Makeup Assistants: Pia Gartner, Rina Inata; Manicure Assistant: Megan Cummings; Set Assistants: Brad Barrett, Charlie Fowle.Giorgio Armani Collage: Top row, from left: Fairchild Archive/Penske Media via Getty Images; Stefan Hesse/Picture Alliance via Getty Images; John Minihan/ANL/Shutterstock. Second row, from left: Francois Goudier/Gamma-Rapho via Getty Images; Leonardo Cendamo/Getty Images; Isabel Snyder, Courtesy of Giorgio Armani. Third row, from left: RiskyWalls/Alamy Stock Photo; Courtesy of Giorgio Armani; Bernard Weil/Toronto Star via Getty Images; Courtesy of Giorgio Armani; Vittoriano Rastelli/CORBIS/Corbis via Getty Images. Bottom row, from left: Aldo Fallai, Courtesy of Giorgio Armani; Marc Piasecki/WireImage; Courtesy of Giorgio Armani. Source link

[chilimili212]

“Timeless” is one of those terms so often used to describe elegant clothing that it has practically lost all meaning—it’s a fashion cliché right up there with “effortless” and “modern.” That is, unless you’re talking about Giorgio Armani, for whom all those words sound exactly right.Does anyone have a stronger claim of ownership to the concept of timelessness than the Italian legend, who turned 90 last July and is now celebrating the 50th anniversary of his business? Like all successful designers, he will tell you that he always prefers to look forward, not back; but his commitment to a singular aesthetic throughout his career has resulted in designs that seemed breathtakingly new when they were introduced in the 1970s and ’80s—when he stripped the stiff linings from suit jackets and softened the shoulders—and still feel relevant and wearable today. The designer himself still looks very much like the same handsomely tanned man who is often called “the king” of Italian fashion.“For me, consistency does not mean rigidity,” says Armani, who, at the start of a year that is likely to be filled with opportunities for reflection, is experiencing emotions that he describes as both personal and profound. This is probably to be expected for someone who is being asked, for this feature, to recall key moments from his shows, which now number in the hundreds. They encompass his collections for Giorgio Armani; Emporio Armani; and his couture label, Armani Privé—not to mention the many Hollywood awards nights where the red carpet has become an extension of his runway. He remembers virtually every ensemble quite clearly. “I am extremely demanding, first and foremost with myself,” he says. “So, looking back, I might have done some things differently today, but I find myself surprised and sometimes even moved by the results of each collection.”Fall 1990“Choosing a well-defined territory of expression isn’t a limitation,” explains Giorgio Armani. “Rather, it expands the available possibilities. The masculine suit reinterpreted through a feminine lens, for instance, is a constant, subtle stimulus for exploration. This season, I worked with cannettato fabric cut horizontally, creating a surface vibration that extends to headwear.” Worn by Lou Hughes.Spring 1990“Being practical doesn’t make me any less of a dreamer— I simply dream while keeping my feet firmly on the ground. This collection, the first after the power dressing decade, marked a turning point for me with its dreamy exoticism and Paul Poiret–inspired refinements. It embodies an even softer vision. This ensemble, a fusion of India, Persia, and pure fantasy, perfectly expresses that vision.”Worn by Ella Dalton.Last October, after decades of parrying questions about the future of his brand—how long he intended to remain at its helm, and if he would ever give up his fiercely guarded independence—Armani made headlines when he told the Italian newspaper Corriere della Sera that he planned to retire within the next two to three years. But, in typical fashion, while opening a massive new flagship in New York just days later, he backtracked and told The Wall Street Journal that he had only been joking. Now he says, and not for the first time, that he owes his longevity both in business and in life to his determination to keep working every single day (“even when I’m on holiday”), combined with a balanced diet and daily exercise, a recipe that he plans to follow indefinitely. And why shouldn’t he, when Armani, who has insisted all along that “elegance is not about being noticed, it is about being remembered,” is once again having a moment?Asked how he might update his most famous dictum, he explains that there is no need. “It resonates even more today than when I first expressed it,” he says. “Timelessness is one of the greatest achievements in fashion, but also one of the hardest. In my view, this quality can be achieved only by subtracting, purifying, and focusing on the value of the garment, not on the stories it must tell, because the stories are ultimately told by the people who wear the clothes.”Spring 1981“I’m often identified as the designer of pure, timeless forms, the gentle classic. Yet I, too, have my moments of exuberance, and this collection is certainly an example of that, a blend of military-inspired jackets, bloomer-like elements, warrior-inspired bodices, and echoes of Japanese influence.”Worn by Yar Aguer and Lou Hughes.Armani joins a rarefied club of designers who have reached the half-century mark, which today includes Rei Kawakubo of Comme des Garçons (founded in 1973) and Yohji Yamamoto (1972) in Japan; Paul Smith (1970) in England; and Norma Kamali (whose first store opened in 1967) and Ralph Lauren (1967) in America. He sees several characteristics that they all have in common: “independence of thought, consistency, the radical choice to work on a singular aesthetic, and the ability not to be swayed by fleeting trends. What I believe has helped me endure as a brand over these years is precisely my commitment to a well-defined style that has evolved over time.”Armani didn’t start his own business until he was 41—he first worked for La Rinascente department store in Milan and the designer Nino Cerruti, among others—which gave him the benefit of experience and maturity. It was as if he had appeared on the scene a fully formed designer. He and his partner, Sergio Galeotti, founded their company in 1975, starting with men’s suits in gently draped luxury fabrics. These became so popular so quickly that the designer introduced womenswear soon after. “Discovering a man like Armani is impossible, because he discovered himself,” Cerruti told Time magazine in 1982. “Men like Armani are so rare that when one emerges even the blind are aware of it.”Fall 2002“Before each collection, I stop to reflect and assess the state of things: Has vulgarity become a kind of aesthetic category? Is the need for clarity applicable to fashion? How can a sense of quality be conveyed without ostentation? Even a fully embroidered jumpsuit can embody balance. It’s a matter of cut and how the body is concealed or revealed.”Worn by Laura Savy.Fall 2012“A woman wearing a man’s suit is my most recognizable and enduring signature,” says Armani. “It reflects an appreciation for classic style and restraint, but also a touch of eccentricity in subverting the rules. To me, this is modern dressing, and this interpretation, extreme in both its softness and its masculine accessories, is one of my finest.”Worn by Lou Hughes.Even so, it couldn’t have occurred to Armani or Galeotti, who died of AIDS only a decade later, that they were creating an empire that would go on to have sales of $2.6 billion in 2023. “The early years were entirely dedicated to building the brand,” recalls Armani. “At the time, we were too busy in the fashion trenches to think about how long it would last or what milestones we might achieve.” Of Galeotti, the dashing young draftsman he met while on a seaside holiday in 1966, who pushed Armani to go out on his own, he says, “I cannot and do not want to forget him.”Armani became a household name in America in the 1980s, following the release of American Gigolo, for which he had outfitted Richard Gere’s character, Julian Kay. His subtly androgynous suits—the yuppies’ uniform for power dressing—became emblematic not only of the new look of Hollywood royalty but also of the shifting dynamics of gender roles in the workplace. Armani’s stripped-down “greige” fashion aesthetic effectively served as a gender equalizer, as his menswear became softer and his womenswear tougher. If there is one way in which his designs have noticeably evolved over five decades, it is that Armani sees less reason to blur boundaries today. “Women in the workplace no longer have to dress like men to be taken seriously,” he says. “A greater femininity in clothing is no longer at odds with authority. Of course, we are still far from absolute equality, but in my work this evolution has resolved itself perfectly.”Fall 1995“This Giovanni Boldini–inspired dress is sensual yet high-necked, with tattoo-like embroidery on a sheath of black stretch tulle that leaves both little and much to the imagination.”Worn by Ella Dalton.Still, Armani says he didn’t feel he had created something truly significant until the 1990s, once he had taken on responsibility for the business—he is also the chief executive of his company—and introduced new labels and products that would eventually include homeware, hotels, and chocolates. Those who have worked with Armani the longest attest that he can be a taskmaster with a notorious eye for detail, but they also point to his discipline and drive. “I have always been struck by his belief in simplification—or subtraction, as he calls it,” says his niece Roberta Armani, the global head of entertainment industry relations, who 25 years ago left behind a career as an actor to join her uncle’s company. “But this is not just a design philosophy; it’s a philosophy for life, too.”This year is also significant for Armani because it marks the 20th anniversary of Armani Privé and the 10th anniversary of Armani/Silos, the exhibition and educational space he opened in Milan, on the same strip of via Bergognone where his offices and the theater he designed with Tadao Ando are located. It’s been a dream of his, he says, to exhibit his couture there so that people can appreciate his other side. Armani is by nature pragmatic and restrained, and believes it is the responsibility of Italian designers to produce fashion that is more commercial than creative. “Our work is meant to truly clothe people, not to produce concepts, ideas, or art,” he says. But the couture, which is shown in Paris, “adopts a more precious, lighter, even playful language.” It’s not exactly wild and crazy, but it does allow Armani a break from the fundamental codes by which he otherwise strictly lives, in which each collection must evolve directly from the last one—never a disavowal, never a regret. “I don’t like resting on my laurels or boasting,” he says. “What comes next is always more interesting to me than what I’ve already done.”Fall 1986“I have a long-standing love for velvet. I admire its softness, which can lift the rigidity from even the most austere garment, and its subtle glow. I always explore it in my own way, with poetry but without nostalgia.”Worn by Yar Aguer.Roberta Armani says her uncle is actually very funny. “The image of him as a super-serious creative is only part of the story,” she says. “There is a touch of eccentricity running through him and his work.” Take his aforementioned diet and exercise routine. “I do muscle-strengthening exercises, walk every day, and get massages every evening,” he says. “My diet is very healthy, almost entirely vegetarian, and I don’t drink alcohol. I love pasta, especially spaghetti all’olio, and risottos, too—both alla Milanese and alla Parmigiana. Although I’m not particularly fond of them, I eat plenty of vegetables, and once a week I treat myself to a grilled sole or chicken breast. My only indulgence is sweets—dark chocolate, hazelnut ice cream in summer, and tiramisu or panettone during the holidays.”Nothing becomes easier with age, Armani notes, but the creative process is smoother, and that gives him more time to reflect on both the past and the future. He has always been particularly drawn to the aesthetic of the decade of his birth, the 1930s, an era of modernity and taboo breaking in fashion, art, and furniture, but also a period of great global conflicts that significantly shaped his worldview. His childhood in Piacenza, to the southeast of Milan, was scarred by the atrocities he witnessed during World War II, and as a boy he was severely burned in an explosion after some friends discovered and began playing with gunpowder they had found in empty barracks. When Armani senses parallels between that time and the uncertainty of the current moment, he becomes uncharacteristically pessimistic.Spring 2025“A long, airy, and fluid silhouette that recalls the allure of the 1930s, blended with Eastern influences for a collection imagined as a journey, with shades of beige, blush, and powder blue. Surfaces echo distant cultures through embroidery.”Worn by Anna Robinson.Fall 1993“I like contrasts but not ambiguity, and I explore this from season to season, alternating between classic balance and breaking the rules,” says Armani. “It might be another men’s suit, this time pinstriped but entirely covered in crystals, or a passionate, all-encompassing explosion of red, the most emotional and intense of colors.”Worn by Lou Hughes and Ella Dalton.“I find the world today surprising at times, frightening at others,” he says. “It is open, full of discoveries, and equipped with tools that connect us, broaden our perspectives, expand our contacts, and increase our knowledge. Yet, despite all this progress, it still seems governed by harsh logics of exploitation and violence. There are still too many wars and too much poverty for us to speak of true progress. Having experienced war firsthand, I find this scenario profoundly alarming. I would like there to be more respect. This is a utopia perhaps, but one we should all strive to make real.”In a way, that is what Armani has been doing for most of his career: creating his own vision of utopia through fashion. Having defied some critics who once sniped that his collections were too repetitive, and others who called for him to adapt to the trends of the moment, he could surely say he’s had the last laugh by now—not that he ever would.Does he ever feel like he’s got nothing left to prove?“If that thought had ever occurred to me, I would have stopped working immediately,” says Armani. “Yet here I am.”Snapshots from Giorgio Armani’s storied 50-year career.Top row, from left: The designer at home in Milan with his dog, Gigi, in 1972; on the catwalk with his models in Hamburg, Germany, 1997; with two looks from the Spring 1989 collection. Second row, from left: Armani sizing up the spring 1998 ready-to-wear collection with his niece Roberta; the young designer in 1973; riding a motorbike with Lauren Hutton. Third row, from left: Armani on Time magazine’s cover, 1982; his first runway presentation, 1975; at his retrospective at the Fashion Institute of Technology, in New York, c. 1990; a sketch from the fall 1980 collection; with his mother, Maria, in 1987. Bottom row, from left: An Emporio Armani Junior campaign image from 1984; on the runway at the fall 2024 Armani Privé haute couture show in Paris; the March–August 1994 issue of Emporio Armani magazine.Hair by Cyndia Harvey at Art Partner; makeup by Hiromi Ueda for Armani Beauty at Art + Commerce; manicure by Lauren Michelle Pires for CND. Set design by Andrew Tomlinson at Streeters.Models: Lou Hughes, Yar Aguer, Anna Robinson at NEXT Management London; Charlotte Boggia at Select Model Management London; Ella Dalton, Laura Savy at Society Management; Casting by Ashley Brokaw Casting; Produced by Partner Films; Producers: Lola Sharrock, Cindy Parthonnaud; Photo Assistants: Albi Gualtieri, Thomas Lombard, Sapphire Stewart; Digital Technician: Bella Sporle; Retoucher: Aly studio; Fashion Assistant: Salomé Rouquet; Production Assistants: Ash Renshaw, Freddie Nickerson; Hair Assistants: Leanne Millar, Karen Bradshaw, Aminata Kamara; Makeup Assistants: Pia Gartner, Rina Inata; Manicure Assistant: Megan Cummings; Set Assistants: Brad Barrett, Charlie Fowle.Giorgio Armani Collage: Top row, from left: Fairchild Archive/Penske Media via Getty Images; Stefan Hesse/Picture Alliance via Getty Images; John Minihan/ANL/Shutterstock. Second row, from left: Francois Goudier/Gamma-Rapho via Getty Images; Leonardo Cendamo/Getty Images; Isabel Snyder, Courtesy of Giorgio Armani. Third row, from left: RiskyWalls/Alamy Stock Photo; Courtesy of Giorgio Armani; Bernard Weil/Toronto Star via Getty Images; Courtesy of Giorgio Armani; Vittoriano Rastelli/CORBIS/Corbis via Getty Images. Bottom row, from left: Aldo Fallai, Courtesy of Giorgio Armani; Marc Piasecki/WireImage; Courtesy of Giorgio Armani. Source link

[oliviajoyice21]

“Timeless” is one of those terms so often used to describe elegant clothing that it has practically lost all meaning—it’s a fashion cliché right up there with “effortless” and “modern.” That is, unless you’re talking about Giorgio Armani, for whom all those words sound exactly right.Does anyone have a stronger claim of ownership to the concept of timelessness than the Italian legend, who turned 90 last July and is now celebrating the 50th anniversary of his business? Like all successful designers, he will tell you that he always prefers to look forward, not back; but his commitment to a singular aesthetic throughout his career has resulted in designs that seemed breathtakingly new when they were introduced in the 1970s and ’80s—when he stripped the stiff linings from suit jackets and softened the shoulders—and still feel relevant and wearable today. The designer himself still looks very much like the same handsomely tanned man who is often called “the king” of Italian fashion.“For me, consistency does not mean rigidity,” says Armani, who, at the start of a year that is likely to be filled with opportunities for reflection, is experiencing emotions that he describes as both personal and profound. This is probably to be expected for someone who is being asked, for this feature, to recall key moments from his shows, which now number in the hundreds. They encompass his collections for Giorgio Armani; Emporio Armani; and his couture label, Armani Privé—not to mention the many Hollywood awards nights where the red carpet has become an extension of his runway. He remembers virtually every ensemble quite clearly. “I am extremely demanding, first and foremost with myself,” he says. “So, looking back, I might have done some things differently today, but I find myself surprised and sometimes even moved by the results of each collection.”Fall 1990“Choosing a well-defined territory of expression isn’t a limitation,” explains Giorgio Armani. “Rather, it expands the available possibilities. The masculine suit reinterpreted through a feminine lens, for instance, is a constant, subtle stimulus for exploration. This season, I worked with cannettato fabric cut horizontally, creating a surface vibration that extends to headwear.” Worn by Lou Hughes.Spring 1990“Being practical doesn’t make me any less of a dreamer— I simply dream while keeping my feet firmly on the ground. This collection, the first after the power dressing decade, marked a turning point for me with its dreamy exoticism and Paul Poiret–inspired refinements. It embodies an even softer vision. This ensemble, a fusion of India, Persia, and pure fantasy, perfectly expresses that vision.”Worn by Ella Dalton.Last October, after decades of parrying questions about the future of his brand—how long he intended to remain at its helm, and if he would ever give up his fiercely guarded independence—Armani made headlines when he told the Italian newspaper Corriere della Sera that he planned to retire within the next two to three years. But, in typical fashion, while opening a massive new flagship in New York just days later, he backtracked and told The Wall Street Journal that he had only been joking. Now he says, and not for the first time, that he owes his longevity both in business and in life to his determination to keep working every single day (“even when I’m on holiday”), combined with a balanced diet and daily exercise, a recipe that he plans to follow indefinitely. And why shouldn’t he, when Armani, who has insisted all along that “elegance is not about being noticed, it is about being remembered,” is once again having a moment?Asked how he might update his most famous dictum, he explains that there is no need. “It resonates even more today than when I first expressed it,” he says. “Timelessness is one of the greatest achievements in fashion, but also one of the hardest. In my view, this quality can be achieved only by subtracting, purifying, and focusing on the value of the garment, not on the stories it must tell, because the stories are ultimately told by the people who wear the clothes.”Spring 1981“I’m often identified as the designer of pure, timeless forms, the gentle classic. Yet I, too, have my moments of exuberance, and this collection is certainly an example of that, a blend of military-inspired jackets, bloomer-like elements, warrior-inspired bodices, and echoes of Japanese influence.”Worn by Yar Aguer and Lou Hughes.Armani joins a rarefied club of designers who have reached the half-century mark, which today includes Rei Kawakubo of Comme des Garçons (founded in 1973) and Yohji Yamamoto (1972) in Japan; Paul Smith (1970) in England; and Norma Kamali (whose first store opened in 1967) and Ralph Lauren (1967) in America. He sees several characteristics that they all have in common: “independence of thought, consistency, the radical choice to work on a singular aesthetic, and the ability not to be swayed by fleeting trends. What I believe has helped me endure as a brand over these years is precisely my commitment to a well-defined style that has evolved over time.”Armani didn’t start his own business until he was 41—he first worked for La Rinascente department store in Milan and the designer Nino Cerruti, among others—which gave him the benefit of experience and maturity. It was as if he had appeared on the scene a fully formed designer. He and his partner, Sergio Galeotti, founded their company in 1975, starting with men’s suits in gently draped luxury fabrics. These became so popular so quickly that the designer introduced womenswear soon after. “Discovering a man like Armani is impossible, because he discovered himself,” Cerruti told Time magazine in 1982. “Men like Armani are so rare that when one emerges even the blind are aware of it.”Fall 2002“Before each collection, I stop to reflect and assess the state of things: Has vulgarity become a kind of aesthetic category? Is the need for clarity applicable to fashion? How can a sense of quality be conveyed without ostentation? Even a fully embroidered jumpsuit can embody balance. It’s a matter of cut and how the body is concealed or revealed.”Worn by Laura Savy.Fall 2012“A woman wearing a man’s suit is my most recognizable and enduring signature,” says Armani. “It reflects an appreciation for classic style and restraint, but also a touch of eccentricity in subverting the rules. To me, this is modern dressing, and this interpretation, extreme in both its softness and its masculine accessories, is one of my finest.”Worn by Lou Hughes.Even so, it couldn’t have occurred to Armani or Galeotti, who died of AIDS only a decade later, that they were creating an empire that would go on to have sales of $2.6 billion in 2023. “The early years were entirely dedicated to building the brand,” recalls Armani. “At the time, we were too busy in the fashion trenches to think about how long it would last or what milestones we might achieve.” Of Galeotti, the dashing young draftsman he met while on a seaside holiday in 1966, who pushed Armani to go out on his own, he says, “I cannot and do not want to forget him.”Armani became a household name in America in the 1980s, following the release of American Gigolo, for which he had outfitted Richard Gere’s character, Julian Kay. His subtly androgynous suits—the yuppies’ uniform for power dressing—became emblematic not only of the new look of Hollywood royalty but also of the shifting dynamics of gender roles in the workplace. Armani’s stripped-down “greige” fashion aesthetic effectively served as a gender equalizer, as his menswear became softer and his womenswear tougher. If there is one way in which his designs have noticeably evolved over five decades, it is that Armani sees less reason to blur boundaries today. “Women in the workplace no longer have to dress like men to be taken seriously,” he says. “A greater femininity in clothing is no longer at odds with authority. Of course, we are still far from absolute equality, but in my work this evolution has resolved itself perfectly.”Fall 1995“This Giovanni Boldini–inspired dress is sensual yet high-necked, with tattoo-like embroidery on a sheath of black stretch tulle that leaves both little and much to the imagination.”Worn by Ella Dalton.Still, Armani says he didn’t feel he had created something truly significant until the 1990s, once he had taken on responsibility for the business—he is also the chief executive of his company—and introduced new labels and products that would eventually include homeware, hotels, and chocolates. Those who have worked with Armani the longest attest that he can be a taskmaster with a notorious eye for detail, but they also point to his discipline and drive. “I have always been struck by his belief in simplification—or subtraction, as he calls it,” says his niece Roberta Armani, the global head of entertainment industry relations, who 25 years ago left behind a career as an actor to join her uncle’s company. “But this is not just a design philosophy; it’s a philosophy for life, too.”This year is also significant for Armani because it marks the 20th anniversary of Armani Privé and the 10th anniversary of Armani/Silos, the exhibition and educational space he opened in Milan, on the same strip of via Bergognone where his offices and the theater he designed with Tadao Ando are located. It’s been a dream of his, he says, to exhibit his couture there so that people can appreciate his other side. Armani is by nature pragmatic and restrained, and believes it is the responsibility of Italian designers to produce fashion that is more commercial than creative. “Our work is meant to truly clothe people, not to produce concepts, ideas, or art,” he says. But the couture, which is shown in Paris, “adopts a more precious, lighter, even playful language.” It’s not exactly wild and crazy, but it does allow Armani a break from the fundamental codes by which he otherwise strictly lives, in which each collection must evolve directly from the last one—never a disavowal, never a regret. “I don’t like resting on my laurels or boasting,” he says. “What comes next is always more interesting to me than what I’ve already done.”Fall 1986“I have a long-standing love for velvet. I admire its softness, which can lift the rigidity from even the most austere garment, and its subtle glow. I always explore it in my own way, with poetry but without nostalgia.”Worn by Yar Aguer.Roberta Armani says her uncle is actually very funny. “The image of him as a super-serious creative is only part of the story,” she says. “There is a touch of eccentricity running through him and his work.” Take his aforementioned diet and exercise routine. “I do muscle-strengthening exercises, walk every day, and get massages every evening,” he says. “My diet is very healthy, almost entirely vegetarian, and I don’t drink alcohol. I love pasta, especially spaghetti all’olio, and risottos, too—both alla Milanese and alla Parmigiana. Although I’m not particularly fond of them, I eat plenty of vegetables, and once a week I treat myself to a grilled sole or chicken breast. My only indulgence is sweets—dark chocolate, hazelnut ice cream in summer, and tiramisu or panettone during the holidays.”Nothing becomes easier with age, Armani notes, but the creative process is smoother, and that gives him more time to reflect on both the past and the future. He has always been particularly drawn to the aesthetic of the decade of his birth, the 1930s, an era of modernity and taboo breaking in fashion, art, and furniture, but also a period of great global conflicts that significantly shaped his worldview. His childhood in Piacenza, to the southeast of Milan, was scarred by the atrocities he witnessed during World War II, and as a boy he was severely burned in an explosion after some friends discovered and began playing with gunpowder they had found in empty barracks. When Armani senses parallels between that time and the uncertainty of the current moment, he becomes uncharacteristically pessimistic.Spring 2025“A long, airy, and fluid silhouette that recalls the allure of the 1930s, blended with Eastern influences for a collection imagined as a journey, with shades of beige, blush, and powder blue. Surfaces echo distant cultures through embroidery.”Worn by Anna Robinson.Fall 1993“I like contrasts but not ambiguity, and I explore this from season to season, alternating between classic balance and breaking the rules,” says Armani. “It might be another men’s suit, this time pinstriped but entirely covered in crystals, or a passionate, all-encompassing explosion of red, the most emotional and intense of colors.”Worn by Lou Hughes and Ella Dalton.“I find the world today surprising at times, frightening at others,” he says. “It is open, full of discoveries, and equipped with tools that connect us, broaden our perspectives, expand our contacts, and increase our knowledge. Yet, despite all this progress, it still seems governed by harsh logics of exploitation and violence. There are still too many wars and too much poverty for us to speak of true progress. Having experienced war firsthand, I find this scenario profoundly alarming. I would like there to be more respect. This is a utopia perhaps, but one we should all strive to make real.”In a way, that is what Armani has been doing for most of his career: creating his own vision of utopia through fashion. Having defied some critics who once sniped that his collections were too repetitive, and others who called for him to adapt to the trends of the moment, he could surely say he’s had the last laugh by now—not that he ever would.Does he ever feel like he’s got nothing left to prove?“If that thought had ever occurred to me, I would have stopped working immediately,” says Armani. “Yet here I am.”Snapshots from Giorgio Armani’s storied 50-year career.Top row, from left: The designer at home in Milan with his dog, Gigi, in 1972; on the catwalk with his models in Hamburg, Germany, 1997; with two looks from the Spring 1989 collection. Second row, from left: Armani sizing up the spring 1998 ready-to-wear collection with his niece Roberta; the young designer in 1973; riding a motorbike with Lauren Hutton. Third row, from left: Armani on Time magazine’s cover, 1982; his first runway presentation, 1975; at his retrospective at the Fashion Institute of Technology, in New York, c. 1990; a sketch from the fall 1980 collection; with his mother, Maria, in 1987. Bottom row, from left: An Emporio Armani Junior campaign image from 1984; on the runway at the fall 2024 Armani Privé haute couture show in Paris; the March–August 1994 issue of Emporio Armani magazine.Hair by Cyndia Harvey at Art Partner; makeup by Hiromi Ueda for Armani Beauty at Art + Commerce; manicure by Lauren Michelle Pires for CND. Set design by Andrew Tomlinson at Streeters.Models: Lou Hughes, Yar Aguer, Anna Robinson at NEXT Management London; Charlotte Boggia at Select Model Management London; Ella Dalton, Laura Savy at Society Management; Casting by Ashley Brokaw Casting; Produced by Partner Films; Producers: Lola Sharrock, Cindy Parthonnaud; Photo Assistants: Albi Gualtieri, Thomas Lombard, Sapphire Stewart; Digital Technician: Bella Sporle; Retoucher: Aly studio; Fashion Assistant: Salomé Rouquet; Production Assistants: Ash Renshaw, Freddie Nickerson; Hair Assistants: Leanne Millar, Karen Bradshaw, Aminata Kamara; Makeup Assistants: Pia Gartner, Rina Inata; Manicure Assistant: Megan Cummings; Set Assistants: Brad Barrett, Charlie Fowle.Giorgio Armani Collage: Top row, from left: Fairchild Archive/Penske Media via Getty Images; Stefan Hesse/Picture Alliance via Getty Images; John Minihan/ANL/Shutterstock. Second row, from left: Francois Goudier/Gamma-Rapho via Getty Images; Leonardo Cendamo/Getty Images; Isabel Snyder, Courtesy of Giorgio Armani. Third row, from left: RiskyWalls/Alamy Stock Photo; Courtesy of Giorgio Armani; Bernard Weil/Toronto Star via Getty Images; Courtesy of Giorgio Armani; Vittoriano Rastelli/CORBIS/Corbis via Getty Images. Bottom row, from left: Aldo Fallai, Courtesy of Giorgio Armani; Marc Piasecki/WireImage; Courtesy of Giorgio Armani. Source link

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National Barbecued Spareribs Day 

National Barbecued Spare ribs Day is celebrated each year in the United States on July 4. Think about it, July 4 is also Independence Day, and the day is celebrated by grilling various kinds of meats and vegetables. Barbecue lunches are common and everyone is eager to show off their grilling skills! Spare ribs were intended to be served grilled. Short or long, over charcoal or gas, and in the heat of summer with various dips and sauces: that’s the way to enjoy spareribs. National Barbecued Spare ribs Day reminds us that the summer is incomplete without a barbecue with friends, family, and spare ribs!

History of National Barbecued Spareribs Day

Spare ribs are cut from the lower portion of the pig. The ribs are severed from the breastbone behind the shoulder and taste a bit different from the rest of the body. Though ribs have more bone than meat, the fat in them makes spare ribs more tender than other kinds of ribs. Spareribs are typically sold smoked, meaning you can easily grill them with a dry rub or some barbecue sauce. Spareribs can be made more delicious and tender by an extremely long cooking time at a low temperature.

People all across the world enjoy the rich succulent flavor of pork, and they all have their delicious recipes for spare ribs. The Chinese cut the ribs quite short, steam or fry them, and serve them with a flavorful sauce. The Cantonese prepare them with a sweet and savory sauce, while some may skewer the ribs on long forks and cook in a covered oven.

The Irish have their unique recipe too. In County Cork, people prepare spare ribs by boiling them and eating them with potatoes and turnips. This dish is known as “bodice” in Ireland. In America, almost every community has its recipes for spareribs. From bodice to Chinese braised spare ribs, you can taste every preparation in the country’s restaurants. America is home to the most delicious spare ribs in the world and grilling them has become an Independence Day tradition too! Even if you aren’t much of a cook, you can enjoy National Barbecued Spare ribs Day by having your fill of the delicious food.

National Barbecued Spareribs Day timeline

1909Commercially Produced Barbecue Sauce

Heinz sells the first commercially manufactured barbecue sauce.

1944Electric Grill

George Foreman makes the first electric grill.

1952Modern Barbeque Grill

George Stephen builds the first modern BBQ grill.

2006Barbecue Nation

Nationwide barbecue restaurants chain in India.

National Barbecued Spareribs Day FAQs

Why are spare ribs called spare ribs?

The term comes from the German ‘Rippenspeer’ which translates to ‘spear ribs,’ as this cut was traditionally roasted on a spit or spear.

Are spare ribs good?

Spare ribs require low, slow cooking time to become nice and tender. They are great for smoking, braising, and grilling. They taste even better with spice rubs and sauces.

What are the meatiest ribs for BBQ?

Country-style ribs are the meatiest variety.

National Barbecued Spareribs Day Activities

Go out for spareribs

Grill some spare ribs

Try a new spare ribs preparation

Celebrate National Barbecued Spare Ribs Day by treating yourself to some delicious spare ribs. This is the perfect celebration for those who don’t grill or who would like to explore different recipes for spare ribs.

So you have never grilled spare ribs? National Barbecued Spare Ribs Day is the perfect day to get started on your spareribs journey. Try your hand at the family recipe or experiment with something new.

We all have our favorite spare ribs preparation. But why not taste something new on National Barbecued Spare ribs Day? Get a taste of your friend’s favorite spare ribs recipe or set out to find something you have never tasted before.

5 Facts About Spareribs

Its weight is predetermined

Preparation time can be long

Spare ribs have less meat

There are four types of pork ribs

There’s an ideal serving size too

Spare ribs weigh between two to five pounds.

The longest time taken to prepare spare ribs is 80 hours.

Yet they are a favorite for their delicious taste.

They are baby back ribs, country-style ribs, St. Louis-style ribs, and spareribs.

The ideal serving size for ribs is one pound per person.

Why We Love National Barbecued Spareribs Day

America’s favorite

It’s an occasion to celebrate with family

It’s a celebration of versatile food

Barbecued spare ribs are America’s favorite grilled food. National Barbecued Spare ribs Day is a celebration of America’s recipes and cuisines!

National Barbecued Spare ribs Day is a best-enjoyed celebration with friends and family. Gather your friends and family and treat them to a wonderful meal of barbecued spare ribs and grilled vegetables.

National Barbecued Spare Ribs Day is also a celebration of a versatile food found in several cultures across the world. The day unites us through common food habits.

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