Fashion leaves little time for revelry. So fresh off his triumphanttriptych at the Oscars, for which Giorgio Armani now famously dressedthree best-actress nominees — Jessica Chastain, Naomi Watts andQuvenzhané Wallis — it was back to business as usual, which on Mondaymeant the showing of his fall collection.

Armani’s attentionsclearly were not diverted by his Oscars responsibilities; this was aquite complicated, labor-intensive collection. Too much so at times,especially since its title, “Garçonne,” presaged a more relaxed,off-handed vibe. Instead, Armani seemed too focused on the self-imposedgrails of “avant-garde” and “calculated eccentricity” (descriptivescited in his program notes), which led to some heavy-handedness ofdesign and styling.

Getting past those, there were some terrificclothes. Armani opened with elegant, waist-conscious jackets ininteresting graphic patterns over languid velvet pants. He then moved ina sportier direction with short, loose jackets, these over low-slungtrousers. Both looked great. They were just the beginning, as along theway Armani sent out every shape of jacket imaginable and intenselytextured sweaters as well as jumpsuits, their tops cut like extra-widelapels; pants that unzipped down the sides for extra volume, and a fewlovely short dresses. He also did his part for Milan’s great coat seasonwith a double-faced black-and-blue topper and fluffier versions.

Forevening, he was both at his best and most confounding. His series ofblack looks started elegantly but got increasingly tricked out withexcesses such as a double-winged bodice on a dress and a stiff,suspended peplum over sparkly pants. Yet every now and then he exhaledand went for the ease of a lovely embroidered top and velvet skirt,including one with a black-and-white T-shirt aquiver with rows of beadedfringe. Such looks radiated an understated chic that sits at the coreof the Armani allure.

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