Giorgio Armani, the globally renowned fashion brand founder, passed away at 91 on Sept. 4, leaving behind an impressive collection of clothing. However, Jodie Foster’s champagne-and-silver suit at the 1992 Academy Awards, where she won Best Actress for The Silence of the Lambs, arguably best represents his era’s influence. Though not always featured on Armani’s top lists, it embodies the essence of the Italian designer and his brand’s success.
Foster had previously won an Oscar in 1989 for The Accused, wearing a ruched taffeta dress with a large bow, chosen off the rack, a common practice for Oscar nominees then. The dress wasn’t particularly praised and has appeared on several . The following year, she began her partnership with Armani, who has dressed her for the Oscars and other events since.
Foster’s choice was deliberate; Armani had established a VIP styling room on Rodeo Drive in the late ’80s. He recognized Hollywood’s influence, boosted by his work on Richard Gere’s suits in American Gigolo. His strategy worked: Julia Roberts caused a sensation in an off-the-rack Armani suit at the 1990 Golden Globes. That year, numerous celebrities wore Armani at the Oscars, leading Women’s Wear Daily to call it “the Armani Awards.” Before then, Oscar gowns were usually the domain of costume departments and more theatrical designers. Armani was the first to treat the Oscars as a significant fashion event.
Foster’s outfit and its widespread photos solidified the connection between designers, stars, and the Oscars, transforming the event. Fashion became a key aspect, with celebrities knowing that their outfits could bring publicity, good or bad. Designers welcomed the attention. The arrival of well-dressed stars became as engaging as the awards themselves, increasing viewership, advertising, and revenue, attracting more stars and designers.
Armani became synonymous with celebrity, seen on figures like , , and at premieres. It was rare to find a major event where celebrities didn’t mention wearing Armani. This association aided his brand extensions, including perfumes, sunglasses, and handbags. Other designers like Valentino, Versace, and Oscar de la Renta also successfully worked with celebrities, but Armani achieved unparalleled success.
Foster’s pantsuit was quintessential Armani: impeccably tailored but with a more relaxed silhouette than the Bob Mackie and Arnold Scaasi styles of the previous decade. The silk faille jacket was a soft blush, and the pants and top featured intricate silver beadwork. Foster appeared effortlessly stylish, leading to her appearance on People’s Most Beautiful People cover that year.
The suit’s flowing lines and subtle colors signaled a shift away from the bolder ’80s aesthetic toward a more understated sophistication. Armani, who had already created unstructured jackets for both genders, was part of the movement toward less formal fashion, allowing men and women to look elegant without being stiff. Foster demonstrated its success.
These trends also had unintended consequences. The increasing informality in dressing led to grunge and, later, CEOs wearing hoodies. As designers relied more on celebrities, those celebrities realized their influence in selling clothes, resulting in brands like Victoria Beckham’s line, Gwyneth Paltrow’s Goop, the Olsen twins’ The Row, and Rihanna’s Fenty.
The fashion world Armani leaves is unlike the one he entered in 1975. It’s more fragmented, less structured, and deeply connected to fame and constant updates. However, he played a significant role in shaping it.
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