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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With sustainability benchmarks rising, companies are rethinking how they produce and deliver, pivoting toward greener, more circular models that reduce waste, emissions, and resource use.
The stakes are high. In 2025, Vietnam’s exports to the EU reportedly reached $56.2 billion, up 10.1 per cent year on year, underscoring how pivotal Europe is for the country’s manufacturing base.
Vietnam’s textile and footwear exporters are accelerating sustainability efforts as stricter EU regulations reshape market access requirements.
Rising compliance pressure from measures such as CBAM and ESPR is pushing manufacturers toward circular production, cleaner technologies and greater supply-chain transparency, though limited green finance remains a major challenge for smaller firms.
The EU market, nevertheless, comes with its own challenges as access to this market increasingly depends on meeting strict environmental and product-design requirements.
The EU is rolling out an ambitious sustainability agenda, including the Carbon Border Adjustment Mechanism (CBAM) and the Ecodesign for Sustainable Products Regulation (ESPR). Together, these measures are changing what global suppliers must document, design, and decarbonise.
ESPR shifts expectations toward durability, repairability, and recyclability, while pushing manufacturers to reduce products’ overall environmental footprint. Supply chains are also expected to become more transparent through Digital Product Passports, and practices such as destroying unsold goods being phased out gradually.
For Vietnam’s exporters, compliance is becoming a baseline requirement to keep EU orders and remain competitive.
Recognising this, both the Government and industry players are stepping up. Vietnam’s long-term development strategy for textiles and footwear, which stretches to 2030 with a vision toward 2035, places sustainability at its core. The plan charts a path toward efficient, environmentally responsible growth anchored in a circular economy, where materials are reused, waste is minimised, and production cycles are closed rather than linear.
Crucially, it also provides a legal backbone to help businesses align with global sustainability trends.
On the ground, change is already underway. Textile and apparel manufacturers are investing in renewable energy, upgrading machinery, and fine-tuning production processes to cut emissions and resource use. These shifts are not just about compliance; they are about future-proofing operations in a market where green credentials increasingly determine who wins contracts.
However, the transition has not been entirely seamless. A key barrier seems to be access to green finance, especially for small and medium-sized enterprises. Large firms can more readily fund clean technologies and certification, while smaller suppliers often struggle to fund the shift, risking exclusion from high-value export markets if they cannot keep pace.
There is also a growing recognition that policy support needs to go further. As Vietnam leans into a circular economy, industry voices are calling for a more cohesive and comprehensive framework, one that not only sets clear standards for circular products but also actively incentivises recycling, cleaner production, and sustainable innovation.
Without this, progress risks being uneven, with smaller firms left behind.
Momentum is, nevertheless, building as manufacturers and policymakers push for better-aligned standards and support mechanisms. The goal is to narrow the gap between sustainability ambition and day-to-day implementation across the sector.
The aim is clear: create an ecosystem where businesses of all sizes can invest in circular solutions, strengthen their export capabilities, and meet the EU’s exacting standards head-on.
Fibre2Fashion News Desk (DR)
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)
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