Fashion
Milan bids farewell to Giorgio Armani at 50th-anniversary show
Published
September 29, 2025
Milan, fashion and a legion of movie stars bid farewell to Giorgio Armani at his 50th-anniversary show on Sunday evening, the final collection created by the legendary designer.
Presented 24 days after his passing on September 4, the show was staged inside the city’s most important museum, the Pinacoteca di Brera. Post-show, guests were treated to a new exhibition – “Giorgio Armani, Milano, Per Amore” – where classic looks by the designer were placed among masterpieces of Renaissance art.
The collection marked the last ever designed by Armani, and leave it to Giorgio to go out on a high, with brilliantly fresh, light and contemporary tailoring.
Set in the grand neo-classical courtyard of the Pinacoteca, illuminated by tea-lights, the show was beautifully staged. Armani would surely have been proud at how well his house and team had performed.
Made in supremely light silks, dry linens and printed cottons, Armani cut beautiful pajama suits for men, and breezy tunics and boleros for women. Fashion’s greatest tailor inventing new dhoti pants and deconstructed blazers again. He referenced his island home in sunny Pantelleria in the color palette: burnt sand, lava, stone and sea blue.
For evening, he looked east with beautiful pantsuits in velvet and plissé silk in deep purple, sapphire and azure. All the cast in flats, walking solemnly around the space as Einaudi’s “Divenire” defined the mood.
As the final look passed on Giorgio’s mannequin de cabine and muse Agnes Zogla, the entire audience of 700 rose in a standing ovation.
Led by Cate Blanchett, Glenn Close, Spike Lee, Lauren Hutton and Richard Gere, reminders of Giorgio’s unique collection to cinema. The Milan designer dressed actors in over 100 moving pictures.
One floor above, one could even find one of Gere’s legendary seducer looks for the 1980 film “American Gigolo”, placed before paintings by Bernardino Luini and Vincenzo Foppa.
A slew of designers flew into to pay their respects, to the single most influential designer of the past half century. Sir Paul Smith, Dries Van Noten, Dean and Dan Caten, Francesco Scognamiglio, Alessandra Facchinetti and Ronnie Fieg. Notably, most of them designers – like Armani – who resolutely still control their own brands.
“I wore Armani all the time in my youth. And even a jacket from the first Emporio collection with an eagle on the back. He was a master designer,” recalled Dries.
“You had to admire what Giorgio built. And he still owned it all himself. Pretty remarkable,” underlined Smith.
“Respect, we’ve all come to show it,” said Dean Caten. “No one merited more,” added brother Dan.
The house elegantly invited a dozen veteran models to walk in the show, led by Daniela Pestova and Mark Vanderloo. While the aisles were full of dignitaries: Camera president Carlo Capasa, French Federation boss Pascal Morand, Santo Versace, football star Dusan Vlahovic, TV presenter Lilli Gruber, dancers Roberto Bolle and Hugo Marchand, film directors Giuseppe Tornatore and Marco Bellocchio.
As a memory, guests were given with their invitations a white T-shirt with Armani’s image printed on the front. Though the dress code was black tie, many wore the T-shirt to the show.
Though the most impressive presence was composer Luigi Einaudi, whose piano performance was magical. Playing as Giorgio’s partner Leo Dell’Orco and niece Silvana Armani took the bow.
The night before, the Camera della Moda – Italian fashion’s governing body – presented its Legacy Award. in La Scala posthumously to Armani, represented by his family, Silvana, Leo and nephew Andrea Camerana.
“He was a creative leader, yes, but also a gentle and generous lion. He believed in the lasting power of his work, as we all do,” said Anna Wintour, in a tribute to Armani at the Camera’s Sustainable Fashion Awards.
The Pinacoteca di Brera first approached Armani last year about organizing a retrospective of his work to mark the 50th anniversary of his fashion house. The result elegantly showcases his creations before exceptional works of art in the storied museum.
Curiously, even though fashion exhibitions are now quite common in major museums like the Met in New York, the V&A in London and even the Louvre, this is the first important retrospective of an Italian designer in Milan. Another first for Giorgio.
Armani’s greatest hits will now stand before masterpieces of the Italian Rinascimento: Raphael, Mantegna, Piero della Francesca, Botticelli, Titian, Mantegna and Tiepolo.
After the 75 looks in the show, one could discover 129 silhouettes from Armani’s wardrobe in the exhibition – for women and men, spanning his beginnings in the 1980s to the present day.
The exhibition “Giorgio Armani: Milano, Per Amore”, runs until January 11, 2026. Serious fashionistas should not miss it.
We will not see his like again.
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The increase was driven primarily by higher reinvested earnings and intra-company loans, indicating continued engagement by existing investors with Bangladesh.
Reinvested earnings rose by 318.25 per cent, from $103.79 million in 2024 to $434.10 million in 2025, while intra-company loans increased by 25.68 per cent, from $621.96 million to $781.68 million.
Bangladesh’s net FDI inflows increased by 39.36 per cent last year to $1,770.42 million compared with $1,270.39 million in 2024, the Bangladesh Bank said.
The increase was driven primarily by higher reinvested earnings and intra-company loans.
Reinvested earnings rose by 318.25 per cent, from $103.79 million in 2024 to $434.10 million in 2025, while intra-company loans rose by 25.68 per cent.
Equity capital remained broadly stable, rising by 1.84 per cent, from $544.64 million to $554.64 million in 2025, a release from Bangladesh Investment Development Authority said.
Greenfield project announcements declined by 16 per cent in 2025.
Fibre2Fashion News Desk (DS)
The company’s adjusted EBITDA, excluding Employee Stock Option Plan (ESOP) expenses, rose around 14 per cent YoY to ₹468 crore, while EBITDA margin improved by 20 basis points to around 9.3 per cent. Excluding the reciprocal tariff impact of around ₹36 crore and incremental losses of around ₹13 crore in Bihar and Guatemala, adjusted EBITDA margin stood at around 10.3 per cent.
Pallab Banerjee, managing director, Pearl Global Industries, said: “FY26 marked the company’s second consecutive year of double-digit growth and improved profitability. This performance further solidifies the position of Pearl Global’s diversified operating model and disciplined execution across geographies.”
Pearl Global Industries has reported its highest-ever FY26 revenue of ₹5,025 crore (~$523.93 million), up 11.5 per cent YoY, driven by volume growth and value-added products.
PAT rose 17 per cent to ₹270 crore (~$28.15 million), while Q4 revenue hit ₹1,314 crore (~$137 million).
The company shipped 78.1 million pieces.
Its net worth stands at ₹1,438 crore (~$149.93 million).
He said that geopolitical shifts and Gulf conflicts could lead to energy cost escalation, affecting raw material and logistics costs. However, the company remains prepared to manage these headwinds, supported by its diversified manufacturing base, strong order book, and broad market presence.
The profit after tax (PAT) increased 17 per cent YoY to ₹270 crore (~$28.15 million), the company said in a press release.
On a standalone basis, FY26 revenue stood at ₹1,081 crore, while adjusted EBITDA was ₹67 crore, with EBITDA margin improving by 60 basis points to 6.2 per cent, mainly due to cost restructuring. Standalone PAT rose to ₹69 crore from ₹55 crore in the previous year.
The company’s net worth stood at ₹1,438 crore (~$149.93 million) as of March 31, 2026, compared with ₹1,146 crore a year earlier.
“In FY26, Group delivered another year of resilient performance against a complex geopolitical backdrop. Group achieved, among others, two major milestones this year: revenue crossed INR 5,000 crore mark and installed capacity surpassed 100 million pieces per annum,” said Pulkit Seth, vice-chairman and non-executive director, PGIL.
Seth added that the global apparel industry faced tariff-related disruptions during FY26, with the company’s India operations impacted by tariffs and penal duties imposed by the US. However, he added that Pearl Global leveraged its diversified, multi-country manufacturing presence to mitigate these challenges and deliver double-digit growth.
For the fourth quarter (Q4) of FY26, PGIL posted its highest-ever quarterly revenue of ₹1,314 crore (~$137 million), up 6.9 per cent YoY. Adjusted EBITDA rose 13.7 per cent to ₹135 crore, with margin at 10.3 per cent, the highest EBITDA margin recorded by the company in any quarter. PAT for the quarter stood at ₹81 crore, up 24.6 per cent YoY, PGIL said in a press release.
Standalone revenue during the quarter stood at ₹304 crore, adjusted EBITDA at ₹24 crore, and PAT at ₹14 crore.
PGIL shipped its highest-ever volumes in Q4 FY26 and FY26, at 22 million pieces and 78.1 million pieces respectively. Its annual installed capacity crossed 100 million pieces, reaching around 101 million pieces.
The ongoing capex in Bangladesh is expected to be completed by the first half of FY27 and will add around 6-7 million pieces of capacity during the year.
Fibre2Fashion News Desk (SG)
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The *** per cent Polyester Yarn market witnessed a slightly negative trend during the assessed period, with mild price corrections observed across both yarn grades in the Asia Free on Board (FOB) China market. Prices for **s (*** per cent polyester yarn) declined from around $*.***/kg to nearly $*.***/kg, registering a decrease of approximately *.** per cent.
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