Giorgio Armani Fashions His Own Legacy with Succession Plan 

The 80th Venice Film Festival - Armani fashion show "One Night Only" - Venice, Italy, September 2, 2023 - Designer Giorgio Armani attends his event "One Night Only", a special fashion show to celebrate cinema. (Reuters)
The 80th Venice Film Festival - Armani fashion show "One Night Only" - Venice, Italy, September 2, 2023 - Designer Giorgio Armani attends his event "One Night Only", a special fashion show to celebrate cinema. (Reuters)
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Giorgio Armani Fashions His Own Legacy with Succession Plan 

The 80th Venice Film Festival - Armani fashion show "One Night Only" - Venice, Italy, September 2, 2023 - Designer Giorgio Armani attends his event "One Night Only", a special fashion show to celebrate cinema. (Reuters)
The 80th Venice Film Festival - Armani fashion show "One Night Only" - Venice, Italy, September 2, 2023 - Designer Giorgio Armani attends his event "One Night Only", a special fashion show to celebrate cinema. (Reuters)

Giorgio Armani has always kept a tight grip on the firm he founded, and the Italian fashion king's attention to detail extends to clear rules on how it should be run after his death.

Armani, 89, remains CEO and effectively sole shareholder of the business he set up with his late partner in the 1970s, which had a 2.35 billion euros ($2.5 billion) turnover last year.

With no children to pass it on to, there has been speculation about the long-term future of Armani's empire and whether, in an industry dominated by luxury conglomerates, it will be able to maintain the independence he treasures.

But a hitherto obscure document from 2016, held by a notary in Milan and reviewed by Reuters, sets out the future governing principles for those who inherit the group, while another details issues including protecting jobs at the firm.

The first document explains how his heirs should approach a potential stock market listing - though not until five years after his passing - and any potential M&A activity.

For the Armani look itself, the document commits them to the "search for an essential, modern, elegant and unostentatious style with attention to detail and visibility".

The document is the product of an extraordinary meeting that Armani called in 2016 to adopt new bylaws for the group which would come into force upon his death.

SUCCESSION PLAN

Armani's heirs are expected to include his sister, three other family members working in the business, long-term collaborator Pantaleo Dell'Orco and a charitable foundation.

The bylaws divide the company's share capital into six categories with different voting rights and powers, and were amended in September to create some without voting rights.

The Armani group, which as well as the CEO also represents the family members mentioned in the document, declined to comment on the document or its contents.

It is not clear from the document how the different blocs of shares will be distributed, but corporate governance experts say the guidelines should ensure a relatively smooth transition by giving the board a central role.

"It is an organization that reduces the margins for disagreement between the heirs," Guido Corbetta, professor of Corporate Strategy at Milan's Bocconi University, told Reuters.

Armani has a younger sister, Rosanna, two nieces, Silvana and Roberta, as well as a nephew, Andrea Camerana. Dell'Orco is also considered part of the family.

All are currently board members and, apart from Rosanna, all work for the Armani group.

Silvana and Dell'Orco are heads of design, working closely for decades with Armani, who dubbed them his "lieutenants of style".

The 2016 bylaws set the process for how the board will appoint future women's and men's style directors in a company known for its classic tailoring.

Roberta is Head of Entertainment & VIP Relations, while Camerana is sustainability managing director.

Other fashion groups including LVMH, Europe's most valuable luxury company, also have succession issues, with the five children of LVMH CEO and Chairman Bernard Arnault all having key management roles at brands in the empire.

LASTING LEGACY

Armani also created a foundation in 2016 which currently has a tiny symbolic stake but is earmarked to play a pivotal role in protecting the business he set up with Sergio Galeotti before going it alone when his partner died in 1985.

Its purpose is to reinvest capital for charitable causes and to maintain Armani's lasting influence over the group.

The foundation's bylaws, which were also seen by Reuters, call for it to manage the shareholding with the aim of creating value, maintaining employment levels and the pursuit of company values. The Armani group has almost 9,000 employees.

The arrangement has echoes of one adopted by Rolex founder Hans Wilsdorf who left the brand to a foundation in 1960 that still owns the luxury watchmaker.

Armani has always defended his firm's independence and ruled out a merger, especially with the French groups that swallowed up Italian brands such as Gucci, now owned by Kering.

The group bylaws include a "cautious approach to acquisitions aimed solely at developing skills that do not exist internally from a market, product or channel point of view".

They also provides for the distribution of 50% of net profits to shareholders.

Any eventual stock market listing requires the favourable vote of the majority of directors "after the fifth year following the entry into force of this statute".

The Armani group declined to comment on a potential listing in the mid-term.

"The founding principles show Armani's desire to transmit and prolong his idea of a company, of business, there is a desire for eternity," Bocconi professor Corbetta said.

Despite his meticulous planning, whether Armani's aims outlast him will ultimately be beyond his control.

"They (the rules) could restrict the company a little and become incompatible with drastic changes in the market," Corbetta said.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”