Giorgio Armani, the designer whose iconic style defined the 1980s and influenced fashion for decades, has passed away, his company announced today. He had just celebrated his 91st birthday on July 11. The Armani Group confirmed his death in a statement, expressing deep sorrow and describing him as the company’s creator, founder, and tireless leader. Known affectionately as “Il Signor Armani” by employees and collaborators, he died peacefully surrounded by loved ones. He remained dedicated to his work until the very end, focusing on the company, his collections, and ongoing projects.

The news comes as the company was preparing to celebrate the 50th anniversary of his Milan fashion house later this month. In a statement, employees expressed their grief, saying they felt like part of a family and would honor his legacy by continuing his work with respect, responsibility, and love.

Armani was not only the most successful Italian fashion designer in history but also a remarkable entrepreneur. As the sole owner of Giorgio Armani S.p.a, he expanded the brand far beyond clothing into hotels, home goods, and even sweets. Starting from scratch in 1975 with funds from selling his Volkswagen Beetle, he built a global empire that earned 2.1 billion euros in revenue in 2019 and employs about 8,000 people worldwide. His personal wealth was estimated at $11 billion. Remarkably, he was 40 when he launched his company, and within just seven years, he went from obscurity to gracing the cover of Time Magazine in 1982—a symbol of his cultural impact.

Anna Wintour, Chief Content Officer of Condé Nast and Global Editorial Director of Vogue, praised Armani’s distinctive vision and understanding of power, elegance, and women’s desires. She noted that he saw fashion as interconnected with film, music, sports, art, and architecture, leaving his mark in all these fields.

Armani began his career in fashion after working for six years as a protégé to tailor Nino Cerruti, where he designed for the sportswear label Hitman. Before that, he spent seven years at Milan’s La Rinascente department store as a window dresser and assistant buyer. With encouragement from his life and business partner, architect Sergio Galeotti, Armani opened his own design studio. As he recalled in a 2015 interview, Galeotti helped him believe in himself and see the bigger picture. Together with assistant Irene Pantene—who still works for the company—they launched their first womenswear collection in 1976, securing a distribution deal with Barneys.

At his debut scheduled show, Armani presented 12 models wearing his signature lightweight, deconstructed men’s suit jackets, which he had previously shown in a mixed-gender presentation earlier that year. The show ended with all 12 models coming together on the runway, pausing, and then dancing to music played backstage by Galeotti.By the late 1970s, Giorgio Armani was already making waves in Milan’s emerging fashion scene with his soft, sporty leather jackets for men. His early women’s collections also captured the media’s attention.

Shaun Casey wears a tweed blazer, Shetland vest, bias-wrap skirt, and shirt by Giorgio Armani.
Photographed by Arthur Elgort, Vogue, August 1977

Bonnie Berman wears Armani’s relaxed suiting.
Photographed by Arthur Elgort, Vogue, January 1984

Word of his talent soon reached the US. In April 1978, Armani received his first major exposure when Diane Keaton wore one of his jackets to accept the Best Actress Oscar. An even bigger moment came in February 1980, when Richard Gere wore Armani’s clothes in American Gigolo. The film was a sensation, and as Armani told The Economist’s 1843 magazine in 2017: “Everybody wanted to know what Gere looked so great wearing. So it gave me a sudden positive notoriety.” This opportunity arose thanks to a recommendation from John Travolta’s manager. When Travolta dropped out of the film, director Paul Schrader cast Gere but kept the Armani wardrobe.

Photographed by Peter Lindbergh, Vogue, September 1989

As the US entered a period of power and confidence, Armani offered a sophisticated, relaxed style with soft tones and loose shoulders. His new labels, Emporio Armani and Armani Jeans, made his designs more affordable. More than any other Milan designer—only Gianni Versace came close—Armani became synonymous with Italian fashion in America and beyond. “So many things happened so fast for me back then,” Armani recalled in 2017. “It was the time where everything was moving in my career.” Grace Jones wore Armani on the cover of her 1981 Nightclubbing album, drawing from a Japanese-inspired collection. He later appeared on the cover of Time magazine, and in 1984, his clothes featured prominently in the hit TV show Miami Vice, which ran for four years.

In 1985, however, personal tragedy struck. Sergio Galeotti, Armani’s longtime partner, died after an illness—sometimes reported as heart disease. “We lived without even saying a word about his illness, without even letting it weigh,” Armani told New York Magazine years later. “He never saw me cry. He himself never said anything. In a whole year, he said once, ‘Giorgio, look how thin I have become’—that’s all.”

Though deeply affected by the loss, Armani’s business continued to grow. He found a strong right-hand woman in Gabriella Forte, who had helped broker the Barneys New York deal in 1976 and worked with him since 1979 to develop the US market. From 1985, she often spoke on his behalf. Other key hires included PR Noona Smith-Peterson, who spent eight years with the company; “special events coordinator” Lee Radziwill; and Wanda McDaniel, a former Missouri reporter who became Armani’s ambassador in Los Angeles after being hired by Forte in 1987.

Photographed by Peter Lindbergh, Vogue, December 1987

While the 1980s defined the Armani style, he continued to lead fashion into the next decade, especially in menswear. For spring 1990, he introduced “The Natural”—a three-button, high-lapel, narrow-shouldered suit with soft tailoring that went on to define the dominant silhouette for years. Even the rise of Prada and Calvin Klein didn’t diminish its influence. That same year, Martin Scorsese’s documentary Made in Milan was released, showing Armani at work. In it, he observed: “Society changes and I change with it. I try to filter my ideas through daily reality.”Christina Kruse and Savion Glover dance in the street with Kiara Kabukuru, who wears a fitted Armani coat.
Photographed by Arthur Elgort, Vogue, August 1996.

Between 1990 and 1995, the company grew quickly, but Armani felt the weight of his success. He later reflected, “I couldn’t take risks like before. I couldn’t afford not to sell—even a drop in sales was too much. Designing became a commercial duty.” To sustain growth, he expanded into new areas like sleepwear and beauty. Later in the decade, rivals like Calvin Klein, Prada, a revitalized Gucci, and the emerging Dolce & Gabbana joined the competition, led by Gianni Versace until his death in 1997.

By the company’s 25th anniversary and the 2001 Guggenheim retrospective—which reportedly drew 29,000 visitors a week—Armani was still hugely successful and influential, though no longer seen as cutting-edge. In the early 2000s, he launched a hotel chain and took control of his manufacturing to ensure vertical integration. When he couldn’t produce items himself, he licensed them, but only if he retained final approval. This standard even led him to end a lucrative partnership with Luxottica.

Private equity firms and others eager to join the luxury boom repeatedly approached him with investment offers, but Armani chose to keep his company entirely his own. He once recalled a meeting with three investors and their banker, the most powerful figure in Italian banking at the time. After listening silently, the banker turned to the others and said, “My dear sirs, Mr. Armani doesn’t need us. Let’s go.”

Cindy Crawford in a navy pantsuit by Giorgio Armani.
Photographed by Arthur Elgort, Vogue, March 1992.

Armani continued to advertise heavily in fashion magazines—his first campaign in L’Uomo Vogue had prompted Barneys’ pivotal call in 1976—but over time, his collections stayed true to his own vision rather than following trends. His name carried such weight that it surpassed the limits of fashion media and the industry itself. As the late Franca Sozzani, editor-in-chief of Italian Vogue, noted, “Like all the truly great designers in fashion history, Giorgio Armani is about style, not fashion. They find their style and stick to it, and that’s what he has done.”

Armani was known to be reserved or occasionally sharp. At post-show press conferences for the Italian media, he would sometimes aim a pointed remark at Prada or Dolce & Gabbana, much to the amusement of everyone except those brands. He often attributed his demeanor to shyness. Despite this, his presence was commanding, and his personal style was minimalist. He was also dedicated to staying fit.

Nadja Auermann in a neo-Victorian style Emporio Armani coat.
Photographed by Arthur Elgort, Vogue, November 1993.

Part of Armani’s seriousness and disciplined nature—though he admitted to trying LSD once and getting drunk only one time in his life—likely stemmed from his difficult childhood. He grew up in Piacenza, near Milan, in the 1930s and 1940s. His strong-willed mother, Mariù—after whom he named his beloved yacht—protected him, his sister Rosanna, and brother Sergio during Allied bombing raids. His father, Ugo, an accountant of Armenian descent, struggled to find work after the war. A childhood friend of Giorgio’s was killed in an explosion on a bomb site in Piacenza, leaving Armani badly scarred and hospitalized for 40 days. This experience initially inspired him to pursue medicine, but after military service, he eventually found his way to Milan, the city that would shape his future.Giorgio Armani, to whom he would contribute so much, was unable to attend his Spring 2026 menswear and Armani Privé haute couture shows due to illness. Still, he remained in close contact with his studio by phone. Even in his final collections, he personally reviewed every look before his models walked the runway at the theater designed for him by renowned Japanese architect Tadao Ando.

He once described his guiding principle: “Perfectionism, and the need to always set new goals and achieve them, is a state of mind that gives life deep meaning.”

According to the company’s statement, funeral services will be held at the Teatro Armani in Milan from Saturday, September 6 to Sunday, September 7, open daily from 9 am to 6 pm.

The following images showcase Armani’s work over the years:

– Lise Brand in a Giorgio Armani skirt and blouse. Photographed by Oliviero Toscani, Vogue, March 1984.
– Jennifer Rubin in a silver-embroidered silk organza camisole and ball skirt from Giorgio Armani Couture. Photographed by Arthur Elgort, Vogue, January 1989.
– Nadège du Bospertus in a playful, paillette-studded silk chiffon pantsuit. Photographed by Arthur Elgort, Vogue, August 1992.
– Christy Turlington-Burns in a relaxed silk pinstripe suit. Photographed by Arthur Elgort, Vogue, August 1993.
– A Giorgio Armani suit with loose-cut trousers and a jacket as comfortable as a shirt. Photographed by Arthur Elgort, Vogue, January 1994.
– Nadja Auermann in intricately detailed shorts. Photographed by Irving Penn, Vogue, March 1995.
– A beaded dress designed to make an entrance. Photographed by Arthur Elgort, Vogue, June 1988.
– Stella Tennant in a floral-print silk dress. Photographed by Arthur Elgort, Vogue, November 2001.
– Aerodynamic satin dresses against the Shanghai skyline. Photographed by Norman Jean Roy, Vogue, September 2004.
– Giorgio Armani. Photographed by Norman Jean Roy, Vogue, September 2004.
– Jaunel McKenzie in a calligraphy dress. Photographed by Steven Meisel, Vogue, April 2005.
– Coco Rocha in a platinum beaded gown evoking retro Hollywood glamour. Photographed by David Sims, Vogue, March 2007.
– Isabeli Fontana in a light, layered silk dress. Photographed by David Sims, Vogue, March 2009.
– Kristen McMenamy in a wool suit and silk shirt. Photographed by David Sims, Vogue, August 2010.
– Edie Campbell in a pale-pink silk organza Armani Privé dress with a crinoline lace skirt. Photographed by David Sims, Vogue, September 2013.
– Cate Blanchett in a silk dress with lace and tulle appliqué from Armani Privé. Photographed by Craig McDean, Vogue, January 2014.
– Raquel Zimmermann in an Emporio Armani scarlet coat. Photographed by Mikael Jansson, Vogue, September 2015.
– Yasmin Wijnaldum in an Emporio Armani coat. Photographed by Daniel Jackson, Vogue, September 2018.
– Karen Elson in a Giorgio Armani dress. Photographed by Daniel Arnold, Vogue, March 2021.
– Giorgio Armani. Photographed by Annie Leibovitz, Vogue, May 2021.
– Thuso Mbedu in an Armani Privé dress. Photographed by Micaiah Carter, Vogue, May 2021.
– Sora Choi in a Giorgio Armani jacket. Photographed by Samuel Rock, Vogue, August 2022.
– Bella Hadid in an embroidered Giorgio Armani dress. Photographed by Elizaveta Porodina, Vogue, August 2022.

Frequently Asked Questions
Of course Here is a list of FAQs about the passing of Giorgio Armani designed to be clear and helpful

General Information

Q Is it true that Giorgio Armani has died
A No this is false As of the latest information Giorgio Armani is alive This appears to be a hoax or misinformation He was born on July 11 1934

Q How old is Giorgio Armani
A Giorgio Armani is currently 90 years old

Q Why are there rumors about his death
A Unfortunately false celebrity death rumors are common online often spread through social media hoaxes misleading websites or confusion with other events

About His Life and Legacy

Q What is Giorgio Armani most famous for
A He is most famous for revolutionizing fashion in the 1980s with his relaxed deconstructed suits He moved away from stiff structured tailoring to create elegant comfortable and powerful clothing for both men and women

Q What are his main fashion brands
A His main brands are Giorgio Armani Emporio Armani and Armani Exchange

Q Did he only design clothing
A No he built a massive lifestyle empire Beyond clothing his brand includes accessories perfumes cosmetics eyewear home decor and even hotels and restaurants

Q What was his impact on Hollywood and redcarpet fashion
A He was a pioneer He famously dressed Richard Gere in American Gigolo which catapulted him to international fame For decades his designs have been a goto choice for Alist celebrities on the red carpet

The Future of the Brand

Q What will happen to the Armani fashion house now
A While he is still alive Giorgio Armani has already planned for the future of his company He has stated that the Armani Group will remain independent and not be sold to a larger conglomerate Control is expected to be passed to his family and a dedicated foundation

Q Who will be the creative director after he passes away
A A successor has not been officially named It is widely believed that the design direction will be managed by a trusted internal