10/07/08 - Here's an exclusive interview with Emanuele del Fabbro, Giorgio Armani's creative director. We discover the secrets behind ad campaigns and the changes that have taken place at Giorgio Armani...

Recently, we had the pleasure of talking exclusively to Emanuele del Fabbro, Giorgio Armani's creative director. The aim was to find out about how the artistic department of one of the top international fashion brands works, how ad campaigns are created and the secrets to their success season after season.

How did your relationship with Armani begin?
A few years ago, when I was working with Rosanna Armani, who was then art director.

Is it possible to have creative independence, or do you have to succumb to a lot of pressure vis-a-vis commercial concerns?

It's a complicated system. When we're creating a press campaign I have to bring together a vast number of problems and a vast amount of information. Commercial concerns are ever-present, to understand and examine market demands - and so creativity still has a lot to say.

What does Armani want to communicate through its campaigns? What are its basic principles?

We want to communicate a way of life, a style, in an elegant, refined way.

What's it like working at Armani day-to-day? It's one of the big names in fashion.

We're always trying to perfect our work, and also to perfect ourselves. It's important to improve while continuing to maintain the reality of what's happening around us.

What team do you work with?

I work with a team of young men and women who are full of energy and are constantly helping me.

If you look at all the campaigns you've done for Armani, how have they changed along the way? What are the main changes?

I particularly remember the summer 2004 ad campaigns when I used Nathaniel Goldberg, Tom Munro, Mert and Marcus for the first time. It was one of the most exciting times - a new beginning for our image, without forgetting who we were - it was like a revival without erasing the past.

Do you think about adapting concepts to fit your new international markets? How do you make a photo successful in places so different as New York and Bejing?

At the moment, we're simply keeping the same image all over the world.

I like to think that our photo makes people dream... Those who live in NY aren't so different from those living in Bejing. Everything is close now, communication has really opened things up.

What were the biggest risks you took on when you became responsible for Armani's image?

Each season, we have to go over everything, it's like starting from zero, the game begins all over again. I find all of it very exciting and truly creative in many ways.

What is the most important thing to take into account in the fashion photography world?

I think it's important to never forget who the photo is aimed at, and what problems may exist when communicating with new generations. We have a big responsibility to the young people who look to us.

What inspires you? Where do you look for inspiration? Could you tell us about the process that preceded the current FW 08/09 campaign?

Everything inspires me... Wherever I go, I find the right inspiration, but for me the most important thing is how I relate to people, how we exchange energy and emotions. Seeing and hearing my surroundings is all very emotionally intense.

For the Giorgio Armani fall winter 08/09 ad campaign, I wanted to revolutionise everything. I thought we could change the previous image in a new, direct way. I thought of an artlike, more conceptual image, something in line with Armani but fresh and new.

Do you keep an eye on what the other brands are doing? What points of references are there now? What brands manage to do things in a different, effective way?

I keep an eye on all of them. I'm very curious, I like to know if many brands are doing a good job and maintaining an image that fits with their product.

To what extent is it necessary to use famous photographers for campaigns? It seems to be essential for big brands.

I don't look at whether someone is very famous - I look at their talent and experience, because they're the most important things. Working with Mert and Marcus was a big success, we were delighted with how it went.

Can you tell us about someone who's been a pleasure to work with and who you'd love to work with again? Whether it's a stylist or a photographer, a professional of whatever type.

Every experience I've had working with people has taught me something, in some way, not just professionally but personally too. For example PETER LINDBERGH, PAOLO ROVERSI, MERT AND MARCUS, TOM MUNRO, NATHANIEL GOLBERGH, JOE MCKENNA, STEVEN MEISEL, KATY GRAND, ALKEX WHITE, CRAIG MCDEAN and many more.

What can you tell us about the upcoming spring summer 2009 ad campaign?

I'm sorry, it's still top secret.

What's your biggest success to date, conceptually, at Armani? What are you particularly proud of?

The biggest success in every way is this new ad campaign with Mert and Marcus.

I'm proud of the emotions that I try to communicate with every ad campaign, although, like all perfectionists, nothing is good enough for me.
What's the last garment you bought?

An Emporio Armani jacket.

Where do you live? Can you recommend a fashion store in your city?

In Milan... EMPORIO ARMANI Store, Via Manzoni 31, Corso Como 10 - you can find anything and everything there.