American Gigolo (1980, directed by Paul Schrader) is a vapid expression of style without substance that has somehow become an academic’s favourite. Yet to argue the emptiness of the film and its bland protagonist as subtext is to miss the big picture: American Gigolo is not even about its protagonist; it is about what he wears. American Gigolo is about Armani.
It was Italian designers who led a revolution in tailoring during the early 1980s, reinventing the male suit by removing hitherto essential padding for a lightweight, almost floppy silhouette. Combined with unusual fabric choices and bold colours, they defined the decade. Giorgio Armani was at the forefront of this revolution, certainly in terms of bringing it to the masses. Moreover, his clothes were just as popular with both sexes, the Ga logo coming to symbolise luxurious excess disguised as simple class.
Armani trained with Nino Cerruti before becoming established...
It was Italian designers who led a revolution in tailoring during the early 1980s, reinventing the male suit by removing hitherto essential padding for a lightweight, almost floppy silhouette. Combined with unusual fabric choices and bold colours, they defined the decade. Giorgio Armani was at the forefront of this revolution, certainly in terms of bringing it to the masses. Moreover, his clothes were just as popular with both sexes, the Ga logo coming to symbolise luxurious excess disguised as simple class.
Armani trained with Nino Cerruti before becoming established...
- 5/5/2012
- by Chris Laverty
- Clothes on Film
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