Giorgio Armani’s Milanese house opens its doors for the SS2026 campaign

The latest collection designed by the designer takes shape inside Giorgio Armani’s house in Milan. The spring/summer 2026 campaign, shot by Oliver Hadlee Pearch, is set for the first time in the house on Via Borgonuovo: a choice that shifts the center of gravity from the simple fashion story to the spatial construction that has always supported its language.

This is not a celebratory gesture, nor a nostalgic operation. This private interior, now inhabited by Leo Dell’Orco and located in the same building that hosts the brand’s fashion shows, is activated as an instrument of continuity: a return to the origins understood as the structural continuation of a creative path that spans decades without losing coherence.

Armani’s home center occupies a seventeenth-century building chosen in the early 1980s. Not a representative living room, but a living system built on the discipline of light, on measured contrasts between black and white and on a temporal stratification that spans the Thirties and Forties. Over time, also with the contribution of Peter Marino, the designer has worked on the materiality of the environments and on a sober direction: three levels, large surfaces, a silent management of proportions that reveals much of his idea of elegance. This architecture does not function as a backdrop, but as a matrix. Videos and photographs pass through rooms, gardens, works of art, personal objects and design pieces, composing a spatial sequence that guides the reading of the entire campaign.

Vittoria Ceretti, who returns to pose for Armani, and Clément Chabernaud are portrayed within this domestic system, together with Aboubakar Conte, Zhaoyi Fan and Greta Hofer for eyewear. The movement of the bodies follows that of the environments: thresholds, corridors, green openings, continuous surfaces.

The models wear structured suits, dresses with soft lines, pullovers and shirts that accompany the body with ease. Everything appears natural, free of artifice, as if the garments were calibrated to the same rules that organize the space. This is where the central point of the operation emerges: fashion does not seek contrast, but adhesion. The proportions of the interiors find an echo in the sartorial constructions; architectural sobriety becomes a compositional method.

Setting the latest campaign in this house means making Giorgio Armani’s legacy legible through an architectural device. Not a museum interior, but a lived space, crossed by contemporary presences, capable of making tangible a design continuity that has never separated dress and environment. In a fashion system increasingly oriented towards spectacularization, Armani chooses a different gesture: bringing the story back to the place that generated its visual grammar. Here the architecture does not amplify the product, it explains it. And the latest collection finds in the house on Via Borgonuovo not a stage, but a critical structure from which to be read.