Giorgio Armani’s home has never been a set. Until now. Opening it up for a campaign means abandoning the idea of fashion as mere image and embracing it as space, gesture, and memory. For the Spring/Summer 2026 collection, Giorgio Armani turns his gaze inward, to the place that most fully expresses his vision of style. Via Borgonuovo is not a neutral backdrop, but a living organism, shaped by decades of aesthetic coherence. It is a return to origins without nostalgia—a natural continuation of a creative journey that has never needed upheaval to remain contemporary. The Maison is experiencing an unprecedented moment, marked by gratitude and pride. Following the passing of its Director, it chooses with confidence to show the world the breadth and depth of Giorgio Armani’s universe, which extends far beyond clothing.
Oliver Hadlee Pearch’s lens approaches this gesture with respect and precision. The camera observes, following Vittoria Ceretti and Clément Chabernaud as they move through the rooms of the home as if they had always belonged there. There is no theatrics, no posing. The bodies inhabit the garments in the same way the garments inhabit the rooms—with natural ease, without artifice. Returning to the Armani universe, Vittoria Ceretti embodies a femininity that is present, never performative. Beside her, Clément Chabernaud conveys a relaxed yet impeccable masculinity, defined by balance rather than assertion. Alongside Aboubakar Conte, Zhaoyi Fan, and Greta Hofer in the eyewear shots, the cast forms a group distinguished by a powerful continuity of expression.
“My Milan home stands at the heart of my universe. The one on the Italian island of Pantelleria is a steadfast, enduring love I return to each summer. My villa in Antigua feels like a tropical dream, a refuge in the heart of winter. And my new apartment in New York unfolds like a cinematic fantasy, alive with imagination and possibility.”
The pieces follow the same logic. Structured suits that are never rigid, fluid dresses, sweaters and shirts that accompany the body rather than impose a shape. In a historical moment when fashion often confuses change with noise, Armani reaffirms an idea of elegance that does not need to declare itself new to be relevant. The home thus becomes a point of convergence for worlds that, in Armani’s aesthetic, have never been separate: fashion, design, architecture, art. The works of Andy Warhol, Francesco Clemente, Antonio Lopez, and Silvio Pasotti are not mere decorative presences or sophisticated backdrops, but building blocks of a vision formed over time. They do not convey taste, but a discipline of perception.
It is no coincidence that the campaign unfolds here. This choice reads as an unequivocal statement: ARMANI/CASA has always shown that style is not a superficial exercise, but a true system of values reflected in every gesture, from the way one dresses to the way one inhabits a space. Via Borgonuovo is not merely the place where Armani has lived and created; it is proof that true modernity does not lie in changing skins, but in staying true to an idea strong enough to transcend time. In this campaign, there is continuity. And today, in fashion, that may be the most radical gesture of all.
For further information Armani.com.
