There are a number of designers whose oeuvres are ripe with specific mannerisms that go on to become trademarks. For Italian designer Giorgio Armani, we’ve fondly grown to anticipate the appearance of billowing trousers cut from the most iridescent metallic-coloured silk satin. Or the dazzling geometrical shapes in the structurally tailored evening jackets that softly hug the waist, but remain rigid at the shoulders. Above all, the gowns. Pieces like Hunter Schafer’s Côte d’Azur blue drop-waist dress which twinkled at the 2024 Cannes Film Festival. These are all silhouettes that make you believe that fashion is more than just utility; a stirring reminder of the power of decorative arts. 

Indeed, “Armani-isms” have defined the couturier’s nearly 90 years. (Of which nearly 20 of those are dedicated to the creation of whimsical Haute Couture garments under the Armani Privé banner, as he reminded us last season.) For the luxuriate’s Fall/Winter 2024 Haute Couture collection, Mr. Armani introduced a new motif into his design lexicon: the pearl. Revealing his interest in the naturally occurring gemstone over 89 looks—yes, one for each of his rotations around the sun—the designer meditated on the serenity of beauty. 

The beginning of the collection lacked overt acknowledgements to his reference material. Rather, delicate—albeit crisp—suits crafted in the same lustre synonymous with the glistening stone walked the runway, some gently accented by mother-of-pearl buttons. The first physical embodiment of pearls emerged in a procession of black velvet berets featuring a single dropped pearl. Mr Armani’s girl with the pearl accessory, indeed. 

Then, Black Tahitian pearls took shape on diaphanous sheer black trousers and were embroidered into liquid silk tie-up jackets. Pearls cascaded down a silver bodice—like molten— before elegantly melting into a sharp black velvet pencil skirt, one we could easily see hanging up in Carolyn Bessette-Kennedy’s wardrobe. For the unorthodox bride, a cape made entirely of strings of pearls proves to be a daring addition to your wedding ensemble. The concluding look, a slip made from interlocking crystal and pearls and little else, might be the perfect dress to exchange “I dos”. 

As Mr. Armani is always in the business of evening wear, the collection beckoned to our inner alley cats and invited us all to a proverbial soirée. (Given this is an Armani Privé collection we’re discussing, the only appropriate answer to where we’ll be wearing these gowns is the banks of the Lido during an enchanting night in Venice!)

Structural tops speckled with flecks of pearls before plunging into contrasting black sequin skirts. High-neck, body-conscious maxi dresses woven with vivid thread encouraged an invitation to a ball. Meanwhile, the parade of velvet gowns—cut asymmetrically at the shoulder, sliced at the waist and tied with a bow, or trimmed into coats scattered with pearl accents—would no doubt be greeted with fanfare when debuted by one of Mr. Armani’s close Hollywood confidants at an upcoming red carpet. 

Cate Blanchett, in a bustier pantsuit with a neckline that nearly reached to her navel and an ornamental argyle-print wrap, was spotted mentally noting which piece she’ll wear to the respective premieres of her upcoming projects; the dark-comedy film Rumours and new Apple TV+ mini-series Disclaimer. 

Mr. Armani encouraged this moment of reflection throughout the runway. In fact, it was a desire for respite that served as the impetus for this collection. Or, as explained in the show’s notes, a sense for “widespread need for serenity and constantly seeking a calm and intimate quality”. A pearl of wisdom worth noting.