COMMUNICATION STYLE

The identity of the sender and his communication style are intimately interwoven and influenced by the relating time period and social and cultural context.

A presentation produced by the “Valentino Fashion Group” to define the fashion house’s style: “Valentino’s fashion is the representation of a dream of beauty and style.

It is the aesthetic transposition of an ideal of perfection, of a fascination which connects with the world and with real people and metamorphoses into life, feelings, emotions.

It is a dream that has spread to touch millions of clients over the past 40 years. Of women who wish to share the feeling of eternal romanticism of Valentino”.

While preserving one’s stylistic and communicational identity, it is not uncommon to see variations in this “tune” over time. Armani, for instance, changed the notes of his artistic production for women’s fashion.

Wikipedia tells us that during the Seventies “the Armani woman used to dress casual, classic and comfortable, with retro (cloche hat) and countryside-folk-inspired designs. Then came the change in the Eighties, “the true Armani business woman, professional with a typical yuppie look and feminist, androgynous mood. The beginnings were clearly inspired by the outfit of the business woman: broad shoulders, baby shirts with soft, falling fabric”. Finally, the Nineties saw a predominance of the “andro-chic look, inspired by Greta Garbo and Marlene Dietrich”.

Armani has always stayed true to his identity, but has learned to stay alert to the evolutions (or involutions) of society, adapting his designs, which indeed played a role in forging the spirit of those years.

Style Evolution: The Armani Suit.

Every fashion creator’s style (and of every fashion communicator) is formed of countless variables.
Natural talent is obviously the source, but also choice of themes, lexicon, syntax, colours, forms, lights, perspectives, angles (for the communicator, photographer, journalist or fashion director) or stroke, forms, curves, lines, colours, fabric, cut, accessories (for the designer).

All these elements refer to his identity and, ultimately, to the communication relationship he wishes to establish with his model receiver, and to the message he wishes to send him, through time and space, through clothes or through their visual representation.