Armani in Transition

Giorgio Armani enters fall‑winter 2026 with the difficult task of defining Armani in Giorgio’s absence. Following last season’s deeply personal campaign staged in one of the late designer’s homes, the first collection by Silvana Armani and Leo Dell’Orco strips the house back to its vocabulary.

Photographed by Oliver Hadlee Pearch, models Liam Kelly and Akbar Shamji appear among fragments of Giorgio’s world: the 1982 Logo Lamp, symbolic objects, and excerpts inspired by his words. The clothes receive the same examination — enveloping outerwear, generous trousers, rich leather, and softened tailoring that recall the sharply cut Armani men of vintage advertising.

A House Studying Itself

The campaign feels less like a definitive statement than a house in self‑reflection. What is Armani? Who is the Armani man when Giorgio is no longer there to define him? The familiar codes remain potent, but how they become a proposition for men today is the question now facing the house.

Ackermann’s Tom Ford campaign earlier this season asked how tailoring could own the frame; Armani’s fall‑winter story asks how tailoring can own memory. Perhaps that uncertainty is fitting. For the first time, the Armani man looks like a man in progress.