Giorgio Armani Takes New York, Unveils Flagship, Casa Store, Residences

MILAN — Giorgio Armani is taking New York.

The designer is billing the trip as very personal, as it coincides with two milestones: his 90th birthday last July and, next year, his namesake company’s 50th anniversary. “I am approaching this journey like a cinematic experience, recalling the films that captivated me in my youth and shaped my aesthetic,” Armani told WWD.

At the same time, in his signature hands-on and practical manner, there’s work to be done, and the designer is not holding back. On Thursday evening, he will unveil his namesake brand’s spring 2025 collection at the Park Avenue Armory in front of 650 guests, followed by a party, which again is sure to attract a slew of his longtime A-list friends.

Armani has timed the show to celebrate the opening of his company’s new building at 760 Madison Avenue, on the corner of East 65th Street, completed in partnership with SL Green Realty Corp., Manhattan’s leading office landlord.

The building has been entirely redesigned to include residential units, the new Giorgio Armani and Armani/Casa boutiques, and an Armani/Ristorante, which will open in November.

The imposing building is characterized by a series of recessed and exposed terraces that add movement to the facade, and is inspired by the aesthetics of the 1930s and ’40s. Art Deco has long been a recurring reference point for Armani, which he has said before is connected to his “love for cinema of the ‘30s and ‘40s.”

Armani and SL Green collaborated with New York-based architecture studio Cookfox Architects on the design of the building, which spans more than 97,200 square feet and 12 floors, and features slightly rounded lines, large windows and light limestone surfaces with a canneté pattern.

The ground and second floors are home to the Giorgio Armani boutique, also marked by a ‘40s aesthetic, and eight street windows. Main elements range from the moiré effect of special glass panels and Armani/Casa silk wallpaper, to delicately veined flooring and eucalyptus wood.

The ground floor carries the women’s clothing, accessories and eyewear collections, Armani Beauty, Armani Privé fragrances and a selection of Armani/Dolci products. A grand staircase leads to the second floor, which displays women’s eveningwear and fine jewelry, as well as men’s clothing and accessories. There is also a VIP room and the made-to-order women’s and made-to-measure men’s services. The chairs and lamps are from the Armani/Casa collection.

The Armani/Casa boutique is located on the third floor, covers more than 3,000 square feet, and features a large, functional open space that can be modulated by sliding walls that divide as required. This store  is delineated by high wainscotting in champagne gold metal.

The designer has steadily and gradually grown the Armani Casa business, formally established in 2000 and now present in 29 countries with about 40 stores around the world in leading cities from Milan and Paris to Tokyo.

“Interior design is a sort of couture for the home, the total realization of my lifestyle vision, designed around the person. It’s one of the most important extensions of my global style design,” Armani has told WWD. “I’ve always given great importance to one’s living place, which reflects totally our spirit and sensibility.”

The customizable residences, curated by Armani, occupy floors four to 12 and feature communal space, and have all already been sold. Since 2003, the Armani/Casa Interior Design Studio has provided complete interior design services to private individuals and property developers, including the Maçka Residences in Istanbul and the Century Spire in Manila, among others. Recently, the 260 Residences by Armani/Casa in Miami, in a 60-story oceanfront tower designed by architect César Pelli in Sunny Isles, have been completed and have sold out.

The Armani/Ristorante, serving Italian cuisine, will open onto Madison Avenue on the ground floor and extend to the mezzanine level. Furnishings stand out with soft lines and green lacquer on all surfaces, interspersed with eucalyptus wood inserts. There is a Champagne bar waiting area with a counter and high stools, divided into a large space with double-height ceilings and a more intimate room. The floor is made of large slabs of marble aggregate with champagne metal borders, the ceiling is in polished birch and there are vast mirrored walls. A more private room for 40 guests is located on the mezzanine level, accessed by a gold colored metal staircase.

The opening of the store and the show mark the first major moments for Armani in New York in more than a decade. The last time he showed in New York was the “One Night Only” event held in 2013. While in Manhattan, he also will make an appearance at Bergdorf Goodman, which was the first U.S. retailer to carry his womenswear. Fred Pressman, the late legendary owner of Barneys New York, actually was the first to introduce Armani to American consumers, launching his menswear in the U.S.

Here, the designer talks about what makes a design unmistakably Armani, how he feels about New York, and how he sees “a promising future” for his namesake company.

WWD: How do you feel about returning to New York, what are your main emotions? In 2013 you organized a One Night Only event, this year is it a more personal occasion, unveiling a collection, shop and residences?

Giorgio Armani: This trip to New York carries a deeply personal significance for me, even more so than my last visit, as it coincides with two milestones: I have just turned 90 and my company is about to celebrate 50 years. I am approaching this journey like a cinematic experience, recalling the films that captivated me in my youth and shaped my aesthetic. An aesthetic that I’ve carried from fashion to lifestyle, particularly with the new residential units, which I take great pride in. This trip feels like my own kind of epic but in Armani style — sober, not grandiose.

WWD: Your stylistic consistency is renowned, but what can we expect from these new projects in New York in terms of design? You worked with César Pelli for Armani/Casa in Miami, obviously a very different city from New York, but are there similarities? What do you think an American client wants from a residence of yours? Pure Armani style or are there slight variations for America?

G.A.: The beauty of Armani style lies in its adaptability. It remains distinctly mine while molding itself to the individual, environment or city where it comes to life. These New York residences are unmistakably Armani but adapted to the spirit of the city, which is what I believe my clients expect from me. These residences have a Grand Central Station feel and the grandeur of 1940s black-and-white films: a timeless elegance that was modern then and still resonates today. I’ve reinterpreted this style for contemporary living, aware of how enduring it is.

WWD: You admitted that you didn’t want to work with mahogany at first and that the first Casa collection was “very severe, square, angular.” You have remained faithful to the Art Deco style and Oriental influences, but how has the Casa division evolved in recent years?

G.A.: Like everything I do, the Casa division has evolved, responding to changing times and the needs of the public while maintaining a strong stylistic identity. I’ve moved from the initial rigor of my designs, almost monastic in their elegance, to a broader range of expressions that still retain my distinctive touch. This evolution mirrors my fashion journey too.

WWD: What are your fondest memories of New York?

G.A.: I cherish every trip to New York. It’s such a vibrant, ever-changing city that each visit feels like a return and a discovery at the same time. My first trip in the late 1970s to receive the Neiman Marcus Award remains an indelible moment of professional pride, but every visit has marked important milestones in my career. On a personal level, I also treasure the romantic notion of getting lost in the crowd, something I indulge in from time to time.

WWD: What do you like about New York and what do you think should change?

G.A.: What I still love about New York is that it’s a genuine melting pot of different races, spirits and cultures. It’s a fast-paced city that embodies modernity. Like all major cities, however, social inequality is a significant issue and I’m told it has worsened in recent years. I’ve been away for some time and want to assess the situation for myself.

WWD: Did you also make changes to your flat in New York? Can you give us some details?

G.A.: I bought the flat next to the one I already owned in a historic building overlooking Central Park. So I enlarged it and completely revisited it, always taking into consideration the building and its architecture.

WWD: America contributes 21 percent of your company’s sales, which last year amounted to 2.44 billion euros. Do you think there is still room for growth? What are the main steps to be taken?

G.A.: There’s always room for growth, but I increasingly believe in slow, organic development. One of fashion’s problems today is the aggressive, almost obsessive pursuit of double-digit growth. Fashion cannot sustain that pace without risking collapse. So, the steps we take are measured: calibrating the offer, collaborating with retailers and pursuing special projects like the Kith collaboration.

WWD: Are there any other major shop openings in the U.S.?

G.A.: The New York opening is the most significant for our group. We’re also focusing on Armani Residences in South and Central America — there are extensive stylistic and business possibilities in this field and I find it extremely exciting.

WWD: What do you think about the department store situation? Are your department stores mainly concessions? How do you see the wholesale channel in the U.S.? Have you closed any shops recently?

G.A.: The situation for department stores in the U.S. is delicate, though they remain an important way for us to reach the public. Bergdorf’s, for instance, is a key location for us. Barneys was, too, and it’s a real shame what happened there. The wholesale channel is crucial given the size of America, where direct operations aren’t always possible.

WWD: What are your expectations for 2024? Do you think China can recover?

G.A.: We all hope that China will recover soon, and we’re already seeing early signs. We have plans for some major reopenings, but again, the growth must be organic, not explosive as it was in the past. More intimate spaces and shops are the projects I am interested in right now.

WWD: The investments made have also been directed toward refurbishing shops. How do you view the unbridled rush of some groups to take over increasingly important shops in terms of space and visibility? You made a courageous choice when you decided that it was not right to remain in Via Montenapoleone at prices you considered exaggerated, renovating Via Sant’Andrea. How do you judge this choice of yours after some time? Is it important to maintain a stable number of shops?

G.A.: It is important of course and, personally, I am pleased to have chosen to return, renewing it, with the boutique in Via Sant’Andrea. It was like a homecoming: it was here that I opened the first Giorgio Armani boutique in 1983, in one of the most discreet and refined streets, then as it is now, in the Quadrilatero della moda [the fashion area between Via Montenapoleone, Via Sant’Andrea and Via Spiga].

WWD: Your group is one of the few that has chosen not to raise prices significantly, can you tell us what you think about this decision and the luxury scenario?

G.A.: I believe in long-term choices, which has always been my business strategy. Rapid price hikes might boost short-term revenue, but in the long run, they alienate the customer. That doesn’t align with my approach. Extremely high prices also betray the principles of prêt-à-porter. At those price points, I sell couture, which caters to a completely different clientele.

WWD: Next year the company will celebrate 50 years, could you tell us what you have in mind to celebrate this milestone?

G.A.: I’m still thinking about how to mark the 50th anniversary. It’s a significant milestone, but I’m not one for fanfare, so it will be something subtle. For now, I’m focused on New York, which is already a major, meaningful event for me.

WWD: In your autobiography, you emphasised the importance of “a method that will serve the future,” and the importance of acting with concrete facts. You recently made statements about the future of your company, could you tell us today how you see this future?

G.A.: I see a promising future for the company. The transition is in the hands of capable people who have been by my side for a long time and share my approach. It will be a natural evolution. Staying in step with the times is part of the company’s DNA, which I believe is the key to remaining relevant.