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 I technique the fashion system,” AFR magazine told when asked how to paint the closure 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 through the generation of new collections more than the seasons changed.
Armani says his company is now comparing itself to “minimize” the pre-collections that arise from the classic autumn/winter and spring/summer cycles, or forget about them altogether.
“I think it is sufficient to show one collection only per season,” he says.
Armani is one of the most sensible Italian designers and architects interviewed through AFR mag on the effects of the pandemic on the center of fashion and luxury.
The August 2020 factor canopy of AFR magazine.
Sales of Italian fashion items, which rely heavily on tourism in Italy, and airport purchases have declined considerably. Gucci sales fell by 34% in the first half, with Italian fashion organization Salvatore Ferragamo 60% in the quarter. Armani reported on its sales in 2020.
The most productive Italian designers and architects who have spoken to AFR Magazine describe a world that is very shocked and replaced forever, but all say they have controlled to design and design new house products through a mix of new technologies and practical solutions.
Piero Lissoni worked at a new five-star hotel for the 2022 Winter Olympics in Beijing, while concentrating on the other aspect of the world. When he and his team could no longer make a stop at the site, Chinese engineers wore 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 in next-generation electrified supercars at home, and saw 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 an accelerated pace, backed by the blocking trend, a particularly greater interest in the beautification of the house.
“[Customers] in quality,” says Lorenza Luti of Kartell, daughter of founder Claudio Luti.
“They decide on a piece they need to stay longer. This is a technique we can see in the sales we’ve made those months and the requests that are coming.”
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 is convinced 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 settings, the 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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