Armani’s narrative thus reveals both the brilliance of his work and the biases of an industry that too often sidelines non-Western voices.
The death of Giorgio Armani (born 11 July 1934 in Piacenza, Italy; died 2025 in Milan, Italy) marks the end of an era in fashion, and with it, the closing of a chapter that fundamentally reshaped how the world thinks about elegance, simplicity, and luxury. Armani’s rise from a modest background in provincial Italy to becoming the head of a global empire valued in the billions is nothing short of extraordinary. His journey speaks not only to his creative genius but also to the intricate relationship between fashion, media, and the Eurocentric systems of cultural validation that elevate certain figures above others.
the closing of a chapter that fundamentally reshaped how the world thinks about elegance, simplicity, and luxury
Armani began his career not with grand fanfare but with persistence, discipline, and a deep understanding of tailoring. After working as a window dresser and later as a designer for Nino Cerruti, Armani struck out on his own in 1975. From the outset, his approach was distinct. He rejected excess and flamboyance in favour of clean lines, neutral palettes, and effortless sophistication. His designs were not loud; they were subtle, often whispering elegance rather than shouting for attention. This quiet confidence in his aesthetic became his signature. Armani’s empire grew from men’s suits to women’s wear, perfumes, accessories, and even hotels, cementing his name not just as a designer but as a brand synonymous with timeless style.
The core principles behind his success were consistency, restraint, and authenticity. Armani championed the idea that clothing should empower rather than overwhelm the wearer. His minimalist approach stood in stark contrast to the excesses of the 1980s, when many designers leaned into extravagance. In doing so, he tapped into a cultural moment: the rise of the corporate professional. His tailored suits became uniforms of power for both men and women, signaling authority without ostentation. For Armani, fashion was not just about aesthetics, it was about identity, about giving people the confidence to project themselves into the world with quiet dignity.
His rise was facilitated by a global media industry that was, and still is, centered in Europe
Yet, to accept Armani’s success as merely the result of his vision would be incomplete. His rise was facilitated by a global media industry that was, and still is, centered in Europe and the United States. Armani was championed by Hollywood, with his suits appearing on actors like Richard Gere in American Gigolo, and later adorning countless stars on red carpets. The film industry and Western media amplified his brand, making it aspirational across the globe. It is worth asking: would an equally talented designer from Africa, Asia, or the Middle East have been granted the same platform in the 1970s and 80s? History suggests otherwise.
This imbalance raises a critical question about the fashion industry’s power structures. Armani is celebrated as a “hero” of fashion, yet there were and are designers across the Global South whose contributions remain underrecognized. The celebration of Armani, alongside others like Yves Saint Laurent and Ralph Lauren, reflects not only their skill but also the fact that they operated in cultural centers that Western media and consumers deemed legitimate. This Eurocentrism has shaped whose stories are told and whose legacies are immortalized.
Armani’s narrative thus reveals both the brilliance of his work and the biases of an industry that too often sidelines non-Western voices.
Still, it would be reductive to claim Armani’s legacy is simply a product of geography and media. His designs did, undeniably, resonate globally. His clothes were accessible in their simplicity, transcending trends and cultural borders. Even in places where Western dominance is rightly critiqued, Armani’s suits became symbols of aspiration and success. This dual reality. of genuine innovation and structural privilege, makes his legacy complex.
In reflecting on Armani’s empire, one cannot help but admire the discipline, focus, and artistry that built it. But we must also confront the uncomfortable truth: the fashion industry has consistently celebrated its icons from Europe and America while overlooking others who were equally innovative.
Armani deserves recognition, but his story should also spark a broader conversation about whose creativity is amplified, whose is ignored, and why.
Ultimately, Armani’s death invites us to both honour his achievements and critique the system that elevated him. His empire will endure, not only as a monument to minimalism and elegance but also as a symbol of the cultural inequalities that continue to shape global fashion. His legacy is both an inspiration and a reminder that true creativity knows no borders—even if the world does not always acknowledge it.
