[doptg id=”637″]

Text Carlo Mazzoni

Acqua di Giò is the Italian perfume – N°5 is to France for a woman as Acqua di Giò is to Italy for a man. One of the best-selling perfumes in the world, always on top of selling lists. Renowned in his freshness and simplicity – a clean, energy taste – water, from a mountain torrent or from the sea in Liguria.

Over the years, Armani has chosen men’s faces to represent its essence in the advertising images. In the Nineties, girls pinned up posters together with maxi-covers of the Nirvana’s albums. Acqua di Giò’s first campaigns led to the first twists of general fancy: just think that before, the longing for skin and beauty only applied to the feminine body – with Acqua di Giò the pursuit of masculine body resurfaced – it hadn’t been perceived since the times of Praxiteles. It was one of the beauty movements that have signalled an era and that still today keep Armani’s images sound for man as a beauty icon for every kind of man, virile or ephebic, in every part of the world, beyond any style difference. In the universe of perfume, Acqua di Giò is that glass of water which you drink so peacefully in the morning as you wake up, those water drops under a shower in a warm summer dawn. In Milan, it might be confused with the scent of linden trees in May.

A new edition was being celebrated at the Armani Hotel, a new page of an encyclopaedia of light. For some eight years,  Roberto Serafini has been directing L’Oreal Luxe and he is the mind behind this success: his attitude to smile, his relaxed words, his kind gestures. Last evening, everything finally seemed to be so far from a too digital communication and reserved to the mass market that it is not clear how the poetry of a perfume can be told.