Fashion giant Giorgio Armani admits that his industry “produces too many ill-conceived products that no one needs” and that the closure of Italy, one of the longest and strictest in the world, has given time to reconsider and restart.
“It made me think about what I would like to replace in the way that technical fashion system is technical,” AFR magazine told when asked how to paint the lockdown in Milan.
Giorgio Armani re-evaluates the operation of his empire after the COVID-19 blockades. Stefano Guindani
Luxury fashion brands had followed the trail of massive brands, he said, accelerating the fashion cycle by generating new collections more than the seasons changed.
Armani says his company is now comparing itself to “minimize” the precollections that arise from the classic autumn/winter and spring/summer cycles, or forget about them altogether.
“I think it’s enough to show a single collection according to the season,” he says.
Armani is one of the many most sensible Italian designers and architects interviewed through AFR magazine on the effects of the pandemic on the center of fashion and luxury.
The August 2020 factor canopy from AFR Magazine.
Sales of Italian fashion items, which rely heavily on tourism in Italy, and airport shopping have fallen dramatically. Gucci sales fell by 34% in the first half, while Italian fashion organization Salvatore Ferragamo fell 60% this quarter. Armani reported on his 2020 sales.
The most productive Italian designers and architects who have spoken to AFR Magazine describe a world that is very shaken and replaced forever, but all say they have controlled themselves to design and design new products from home through a mix of new technologies and practical solutions.
Piero Lissoni worked in a new five-star hotel for the 2022 Beijing Winter Olympics while concentrating on the other aspect of the world. When he and his team were no longer able to scale at the site, Chinese engineers used helmets equipped with cameras and sensors. Lissoni can monitor from your iPad.
“I feel like I’m in science fiction, but we don’t have another one to do it,” he says.
Ferrari designers continued to paint next-generation electrified supercars at home, seeing their all-new creations in 3-d for the first time when, despite everything, they were able to return to their studio.
At furniture manufacturer Kartell, the paintings have also continued at a rapid pace, backed by a blocking trend, a particularly greater interest in the beautification of the house.
“[Customers] on quality,” says Lorenza Luti of Kartell, daughter of founder Claudio Luti.
Lorenza Luti from Kartell.
Designers also talked about consumers for more sober products. Maserati’s head of design, Klaus Busse, says other people may be “a little more respectful” in the way they demonstrate wealth.
However, he insists that, even in a very replaced world, consumers will return to high-end Italian design in all its varieties.
“They will return to luxury because we are honest, luxury is not a constant entity, luxury is a variable,” Busse says. “Luxury settings in the context. If the context is adjusted, luxury will have to change.”
Tony Davis’ article on Italian design appears in afr.com and in the August factor of AFR Magazine, in today’s currency magazine.
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