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Aldo Fallai


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In Milan in the early-1970s, a young graphic designer called Aldo Fallai met an equally young fashion designer called Giorgio Armani. They both shared dreams of creating a new and fiercely precise menswear aesthetic, one that would combine stylistic perfection with sculptural poses and brooding sensuality. It took Fallai to pick up a camera in order to adopt the role of Armani’s visual interpreter; and in doing so he was able to transform their utopian Armani man into a visual reality.

   In the ensuing years, this reality was never better expressed than when Fallai’s bold photographs were blown up onto vast billboards. In 1984, one such huge mural, located on Milan’s Via Broletto, was prompting Italian men – and therefore all men – to reconsider what they thought about fashion, about their style, about their lives. Depicting four immaculately dressed men – real men, not simply beautiful models –, their identical suits and ties the proof that the bedraggled 1970s had been replaced by a new era of mature mass democracy.

   While fashion (including that of Armani) may have since moved on, the aesthetic codes as defined in Fallai’s imagery remain as relevant today as they ever have. Indeed, a cursory glance at any men’s fashion magazine or seasonal menswear campaign will highlight the extent to which contemporary imagery is informed by Fallai’s sense of poise, composition and precision.

   Talking to Aldo Fallai is a challenge. He’s not one to naturally want to theorise over the work he created with Armani. Even during the recent press conference for his retrospective book, Aldo Fallai: From Giorgio Armani to Renaissance: Photos 1975-2013, he remained shy and almost reticent to comment. We asked his friend, the veteran Italian fashion journalist Giusi Ferré, to help him recall the period when he and Armani defined the codes that would change men’s fashion forever.

 

system-magazine.com

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