How Armani took over the Venice Film Festival

He bombs around Los Angeles in a Mercedes-Benz, top-down, the Santa Ana winds emphasising his artfully floppy hair. He is seductive, a polyglot, has an easy charm, an expensive watch and a tasteful home. He’s ridiculously handsome. When he’s wearing clothes, the clothes are Armani. He is, of course, the American Gigolo, as played by Richard Gere in Paul Schrader’s impossibly stylish 1980 hit. Don’t you want to be just like him?

It was through Hollywood that the late Giorgio Armani steered the course of dressing in a new direction, starting with American Gigolo’s wardrobe of louche, earth-toned linen tailoring – but the film was also the first hands-on encounter with the world of cinema which would become central to the house’s reputation for decades to come. A manifesto, if you like.

The brand was then just half a decade old, but now, almost 50 years later, the 83rd Venice International Film Festival is underway, and Armani is a ubiquitous presence – from the branded boats which zip visitors across The Floating City, to the gowns and suits worn on the red carpet outside the Palazzo del Cinema.

But this year is the first edition of the festival without Mr Armani himself, who passed away in the final days of the 2025 event. Now, the torchbearers are continuing where the maestro left off. Armani Beauty is the official beauty sponsor for the ninth time, returning with its exclusive Armani Cinema Club, and bringing a host of talent who represent the future of film, including the newest fragrance ambassador, Jonathan Bailey, alongside Sydney Sweeney, Nicholas Galitzine, Madisin Rian and more. But it’s not just the new generation of stars who choose Armani for their moment. When George Clooney went on stage last week to accept the prestigious Golden Lion for Lifetime Achievement award, he was wearing, almost inevitably, an Armani tuxedo.

The role of the fashion house is clear, but the beauty arm has its role to play too. ‘Our ethos is one of dramatic simplicity,’ says global makeup artist Hiromi Ueda. ‘The most important thing we take from the world of cinema when designing a makeup look is that consideration of how light hits the face; some parts radiant while others are more in shadow.’ The original poster for American Gigolo comes to mind. ‘I’m very inspired by films with beautiful cinematography, especially films where the colours, angles, composition and atmosphere are very strong,’ she says.

For the Armani Privé A/W 2025 collection – the house’s haute couture arm – Ueda created a makeup look which nodded to the sculpted sophistication of Marlene Dietrich, and she also cites Japanese filmmaker Hirokazu Kore-eda as a key reference point in her process. ‘I love how his films show everyday life in a very honest and natural way. He finds beauty in simple, quiet human moments rather than creating unnecessary drama.’ She continues: ‘That is also very close to my makeup philosophy. I don’t see makeup as a mask or something that should hide who you are. I see it as a way to enhance what is already there and make someone feel more like themselves. In that sense, I feel connected to Kore-eda’s approach, which is finding beauty in reality, in natural details, and in the quiet moments of everyday life.’

Armani makeup ambassador Vittoria Ceretti tells Wallpaper* that beauty is integral to building a character in front of a camera. ‘Whether it’s for the red carpet, or for a photo shoot, I will often start with the makeup to help inform the storytelling,’ she says.

It is hard to imagine a red carpet event without the elegance of Armani, films like The Untouchables, Goodfellas, and The Wolf of Wall Street without their distinctive tailoring, and the 1980s – full stop – without American Gigolo. Mr Armani’s passion for film has not only shaped the brand he founded, but also shaped Hollywood itself.

The 83rd Venice International Film Festival runs until September 12.

armani.com