Giorgio Armani’s Most Iconic Red-Carpet Looks Of All Time

As the fashion world mourns the passing of Giorgio Armani, reflections turn not only to his impeccable tailoring and unrivalled craftsmanship, but also to the way he cemented the red carpet as an extension of his atelier. Armani understood, long before it became industry standard, the cultural currency of Hollywood – and he wielded it with quiet mastery.

From the 1970s onwards, his pieces became a constant fixture at the world’s most glamorous events. While his razor-sharp suiting carved out his name in fashion’s firmament, Armani was just as adept at sculpting gowns that whispered of elegance yet commanded attention. It is no coincidence that many an Oscar was collected while wrapped in Armani’s fabric poetry.

Armani’s legacy is not only sartorial but philosophical. He altered how the world perceives style, teaching us that refinement lies not in excess, but in precision and restraint. A pioneer in marrying fashion with celebrity, he began dressing Hollywood’s elite in the 1980s and 1990s, forging close collaborations with stylists and stars alike. Each look reflected both the individuality of the wearer and the timeless codes of the house.

Think Julia Roberts’ unforgettable turn in an oversized Armani suit at the 1990 Golden Globes – a statement of ease and power in equal measure. Or Hunter Schafer’s ethereal debut at the 2024 Cannes Film Festival, shimmering in a gown that felt like it was spun from air itself. Armani dressed icons across generations – Cate Blanchett, Margot Robbie, Diane Keaton, Rihanna – each look a dialogue between stardom and sophistication.

Across five decades, Armani’s hand guided countless defining fashion moments, ensuring his creations lived not only on the runway but in the collective imagination. His red-carpet legacy is a gallery of elegance, a reminder that true glamour endures because it is never forced – it is felt.

Here, Previdar revisits Giorgio Armani’s most indelible red-carpet moments, a testament to a designer who understood that clothes could be both armour and poetry, stagecraft and memory.