Autumn/winter 2017 solicitation brought strong showing in trousers and jackets, with alludes of Instagramable playfulness

Models on the Armani catwalk

Armani’s collections work less to things and more to the designer’s own aesthetic.
Photograph: di Felizzano/REX/Shutterstock

The ink was no more than dry on the coverage of the Oscars red carpet when the Giorgio Armani flaunt took place in Milan on Monday morning.

And, while Isabelle Huppert, Nicole Kidman and Oscar conquering hero Viola Davis showcased the designer’s elegant take on attraction at Sunday night’s ceremony, on Monday it was back to business.

Actors in Armani invents are a great photo opp, but the brand knows that its success has roll in by appealing to women who are more likely to be found in the boardroom. It initial saw success in the 1980s, after all, and has customers who have been believing Armani for nearly 40 years.

The show featured a floor-length, multi-coloured chainmail showstopper

The show featured a floor-length, multi-coloured chainmail showstopper. Photograph: WWD/REX/Shutterstock

Fittingly, trousers opened the bear out and continued as a theme. Every trouser imaginable was represented: cropped and velvet, to the utmost with polka dots, tuxedo with a stripe of sequin. One have under ones thumbed and felt new, even in the Armani trouser canon: a sort of tulip form with tapered legs and an extra section of fabric that focused over the leg and at the model’s waist.

Armani’s collections work trifling to trends and more to the designer’s own aesthetic, which evolves slowly each condition to retain the brand’s loyal customer base. If that designs some of the looks feel out of step with the rest of taste, his signatures are always impeccable.

This time the coats and jackets – a lengthy A-line wool design, a trench, a double-breasted blazer – were reasonable. Perhaps a sign of change came in hints of playfulness that wish work well on Instagram: a sweater with a fox terrier on it and velvet slippers with a “GA” monogram finished for a “shoe-fie”.

The show notes described the collection as “a new adaptation of the Armani form: free, aware, subtly irreverent”, and there are always different Armani quirks to a show: the penchant for hats (trilbies on Monday), two representations walking simultaneously, and spontaneous applause from the audience.

After a series of sequin gowns, the concluding dress was a floor-length multi-coloured chainmail showstopper. Not to clap seemed churlish.

Giorgio Armani is 82, important to constant speculation about retirement. For Armani himself, that looks to be in the dim and remote future. Already a giant of Italian fashion, with lodgings and restaurants in his portfolio, he is now a club mogul.

Giorgio’s, his members’ nightspot on Thursday nights in Milan, is now the place to go for the city’s cognoscenti. The Armani bunch is Italy’s second-largest fashion company (after Prada), affix revenues of £2.3bn in 2015. 2016 was less robust with net proceeds down 5%. Speaking in January, Armani described the pecuniary situation as “complicated”.

Monday was the final day of Milan fashion week, with Prada, Gucci and Marni the highlights. The indistinct now shifts to Paris, where Anthony Vaccarello shows his second chrestomathy for Yves Saint Laurent on Tuesday evening.