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Working on a business plan:
what do we want to do?
how will we start?
how will we finance our activity?
how will we  make our activity well-known?
Possible solutions:
- a website
- an emagazine to promote a service/product

What and where will produce/ make our products?
Roles within the company:
- top manager
- Designer and Planner
- Producer
- Marketing
- Buyer

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The students learn  about and check information about the city  REGGIO EMILIA where they are studying.
The Province offers a lot of realities : art, music, culture and a new businesses related to fashion
They work in group and
search for information, the data will be studied and discussed together and they will come to an agreement about what they would like to do.

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PBL
The students work on their reality- the region EMILIA-ROMAGNA  and think about they might do in relationship with  Art and the way of life in  REGGIO EMILIA
They work in team as a group : each group will have to find information about what they might do

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Watching a video about G.Armani

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Inside Giorgio Armani's Fashion Legacy | The Business of Fashion

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Reading an interview with Giorgio Armani

Would you have done anything differently, looking back now?
I would have had less fear. Less fear of making a mistake. It only takes a second to make a mistake, so it's a choice you have to make many times a day.

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Armani the brand turns forty years young this year. Armani the man is in his eighties. Both of which are impressive facts. but what's really kind of remarkable (and inspiring as hell to anyone who dreams of his own second act) is that when you do the math, you realize that Giorgio Armani was once a completely unknown forty-something striver, still trying to figure out who and what he wanted to be. GQ's Michael Hainey sits down for a rare in-depth interview with the godfather of fashion

Giorgio Armani didn't accomplish anything until his forties.

Everything you see now: the globe-spanning business empire, the personal fortune that Forbes calculates to be north of $7 billion, the name that has come to connote the larger idea of style itself? None of that existed when the man turned 40.

In the early 1970s, Giorgio Armani was just another middle-aged man, a onetime medical student, wondering if his best days were behind him. He was in Milan, having started out as a window dresser at a department store. He displayed some skill at that, got promoted, became the menswear buyer, eventually moved on to work as a designer for Nino Cerruti. "I was fine," Armani says of his life then. "Fine."

Forty and..."fine." It's a feeling many men know too well. A feeling that sends a shiver through their souls when they confront themselves in the mirror. That moment when men often pack away their youthful ambitions. The time of resignation, of settling.

Armani chose not to settle. In July of 1975 he was in a relationship with a man named Sergio Galeotti. It was Galeotti, seeing Armani's potential, who encouraged him to start his own company. To fund their start-up, Galeotti persuaded Armani to sell his Volkswagen Beetle. They took that money and opened an office. Two employees. Galeotti running the books, Armani the creative.

"It was Sergio who believed in me," Armani tells me one day in Milan, before he mounts what he estimates to be his 120th men's show. "Sergio made me believe in myself. He made me see the bigger world."

Today, at 80 years of age, Armani is so completely identified with success, with Italy, with glamour and luxury, that it is almost impossible to perceive the ordinary personhood of him; he seems more like an avatar of the brand he created. In his four decades as head of Giorgio Armani S.p.A., he has been heralded as an innovator and, in recent years, sometimes criticized for no longer innovating. Yet through all the high points and lulls-this is fashion, after all-his company endures and expands.

The afternoon before I met him for the first time, I took an hour-long train ride to Piacenza, the town on the Po River where Armani was born in 1934, the son of a civil servant. The day I traveled there, northern Italy was suffering its usual midwinter gloom: gray skies, shadowless light, a damp chill that settles over the region and seems to seep into your bones. Piacenza is, in many ways, an undistinguished, provincial place. During World War II, when Armani was a young boy growing up here, large parts of it were crushed by Allied bombers, and Armani's childhood home was damaged. When he was 9, Giorgio and some friends discovered a bag of gunpowder and, boys being boys, set about screwing with it. It exploded. Armani, severely burned, spent six weeks in a hospital recovering from his wounds. At one point, his family feared he might lose his vision.

I ended up speaking with Armani-or as everyone in his orbit unfailingly calls him, "Mr. Armani"-on three days, spread out over a week, observing him backstage at his men's shows in Milan and visiting his workspace in Paris. His handlers claim their boss speaks no English. I say "claim" because it's clear that Armani understands English, but perhaps due to vanity or a lack of confidence in his abilities, he does not speak it. As a result, just about all of my conversation with him was through a translator.

And you didn't like the blanket?
[laughs] No. I remember there was a stove in the hallway, in the entrance. It was the only heat we had in the house. We lived through a lot of hardship there. I remember, too, the theater there. My grandfather was a wigmaker for the theater. And every so often he would bring me. I was little. It fascinated me. One time, he brought me to the premiere of La Bohème, which is set in winter in Paris. The snow. The windowsills, lit up. Candles. And while I was watching the scene in the theater, outside it was snowing like crazy. It was as if, with the snowing, the theater had become reality. [His expression turns wistful.] I want to go back to Piacenza.

In a way, you are still the puppet master, backstage, dressing dolls, pulling strings...
[laughs] Yes. I am too much the puppet master. Once, my brother and I were going to stage a puppet show in a town near Piacenza, where there was a priest, Don Pietro. This priest was a little bit in love with my mother. Platonic love, mind you. He never did anything. But one day he asked my brother and me to put on a little puppet show. He said he would give us a big space in a grand hall. My brother, sister, and I made the tickets-150 of them. But this was at a time when the war was advancing on our town. So at the last minute, the show had to be canceled. [pauses] I still remember all the work that went into making this show, a show that never happened.... My brother and I shared a room, and at night, before we fell asleep, he would create a show for me, all these different characters with different voices. He was great. [laughs] But every night, at a certain moment, when he wanted to go to bed, he'd stop the show and say, "And now, good evening. The show will continue tomorrow."

Now, I could decide today to leave this business. But I look in the faces of everyone here. The mailman who has children. The young woman who has finally made it to a job at Armani. Or the people who have been here for thirty years. All of this prevents me from making what is, in the end, the self-centered decision to stop. [pauses] I think sometimes maybe I should not have done fashion. Maybe I should have done something where I could express myself more, without any conditions. Like a writer. A writer who gets to write what he thinks. End of story. In the fashion world, you have to make clothes to sell, you have to make clothes for the press, you have to make clothes for yourself. What I mean is, everything is an obligation. But a writer? A pure artist? Maybe he doesn't make one lira, but: He does what he wants.

Armani's breakthrough as a designer came almost immediately after he and Galeotti started the company, when Armani took a traditional men's suit and literally ripped the guts out of it. Until Armani, most "business suits" were boxy and stiff. Armani, wanting a softer profile, sliced out the shoulder pads. He cut the pants fuller. Everything was looser. And then there was his palette of dusty gray and green and brown-the earthy colors, I noticed on my train ride, of the sky and countryside and stone buildings around Piacenza. There was a new sexiness to all of it, and the unstructured, soft jacket revolutionized men's fashion. If, in the 1980s and early '90s, you were a man in the creative industries (or aspired to look like you were)-media, architecture, acting, maybe even the coach of an NBA championship franchise based in Los Angeles-you wore one thing: Armani.

I met Armani for the first time on the morning of one of his men's shows in Milan. It was early, not yet 9 A.M., and his show was not scheduled to begin until eleven. I found him in the deserted backstage dressing area. If you didn't know who he was, you could mistake him for a pensioner who had wandered astray from some tour: He sat quietly at a folding table, reading a newspaper. He was dressed in his uniform: navy wool pants, a navy cashmere hoodie, and white sneakers. His skin was the color of tobacco and his hair was so white it seemed to radiate. Fashion houses are often powered by drama and thrive on chaos, never more so than in the hours leading up to a runway show. That's what was so weird about this scene. It was nothing but serenity.

A couple of hours later, Armani stands backstage, staring at a monitor that shows the stage and runway. "Dai, dai," he mutters. He's impatient with how slow the editors and buyers are to fill their seats. Armani hates slowness. While some designers are often delayed in starting their shows, Armani has the models dressed and ready a good hour before the show starts. Over the past sixty minutes he has been everywhere in the backstage area, inspecting every model and giving "last touches"-adding a hat, removing a jacket. He is never not noticing, not evaluating, not editing. (Indeed, as one employee told me, he also remembers everything: "He is more than happy, if he has to prove a point to you, to bring up that time seven years ago when you screwed something up.")

He returns to the monitor and then, to keep the screen's glow from bleeding onto the runway during the show, he pulls a blackout curtain around himself; his assistant, Paul; and the producer of the show. A moment later, Armani pulls me in and draws the curtain closed behind us. There are now four of us in a space not much larger than a bathtub. Pitch-black except for the faint blue of the monitor. Lights are cued. Music is cued. The first model enters our cloistered staging area, and then something surprising and sweet happens-a brief series of gestures that are repeated with each model as he sends them forth. Armani puts his hand on the model's shoulder or forearm, and as he watches the monitor to track the previous model making his way down the runway, he turns to the young man facing him and steadies him. Then he gives him a gentle squeeze of the biceps, followed by two firm pats on the shoulder. No words. In the moment, it's hard not to see Armani as a grandfather, attempting to instill his own sense of confidence in the model who-for the next thirty seconds, anyway-will be responsible for representing Giorgio Armani to the world.

The last time I met with Armani was in Paris. It was early on a Sunday morning, and he was preparing for his women's couture show. Unlike many of the French designers who work in light-soaked ateliers with cinematic views of the city, Armani toils in an almost windowless postwar building near the Arc de Triomphe. Armani and I sat at a small folding table; black curtains cordoned us off from the young models and old seamstresses who waited for him.

In the few days since I had seen him, I had been thinking about Armani's prolific wardrobe work in Hollywood (The Untouchables, Duplicity, The Dark Knight). He entered the pop-culture vernacular in America when he dressed Richard Gere in American Gigolo, and he possesses an encyclopedic knowledge of film. When I asked him at one point about Il Sorpasso, a 1962 classic about a road trip that holds a special place in the hearts of Italians of his generation, his face lit up. "This movie is heartrending," he said. "It takes me back to my youth." In a way, it makes sense that Armani loves film so much. The medium combines two of his passions: creating beautiful moments, and silent observation.

MORE STORIES LIKE THIS ONE

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Armani the brand turns forty years young this year. Armani the man is in his eighties. Both of which are impressive facts. but what's really kind of remarkable (and inspiring as hell to anyone who dreams of his own second act) is that when you do the math, you realize that Giorgio Armani was once a completely unknown forty-something striver, still trying to figure out who and what he wanted to be.

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Discussion
What do the documents we have read about  tell us about enterpreneurs?
What kind of businesses have they created

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Art in REGGIO EMILIA

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Collezione Maramotti (Reggio Emilia) - 2018 All You Need to Know Before You Go (with Photos) - TripAdvisor

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Collezione Maramotti, Reggio Emilia: See 75 reviews, articles, and 82 photos of Collezione Maramotti, ranked No.8 on TripAdvisor among 95 attractions in Reggio Emilia.

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Reading about famous people who were or have been successful

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Giorgio Armani (Italian pronunciation: [ˈdʒordʒoarˈmaːni]; born 11 July 1934) is an Italian fashion designer. He first gained renown working for Cerruti and then for many others, including Allegri, Bagutta, and Hilton. He formed his company, Armani, in 1975, which eventually expanded into music, sport, and luxury hotels. By 2001, Armani was acclaimed as the most successful designer of Italian origin, and is credited with pioneering red-carpet fashion.

Armani was born in the northern Italian town of Piacenza, where he was raised with his older brother Sergio and younger sister Rosanna by his mother Maria Raimondi and father Ugo Armani (an accountant for a transport company).[citation needed ]

While at secondary school at the Liceo Scientifico Leonardo da Vinci in Milan, Armani aspired to follow a career in medicine, particularly after reading A. J. Cronin's The Citadel. He enrolled in the department of medicine at the University of Milan, but in 1953 after attending for three years, he left and joined the army. Due to his medical educational background, he was assigned to the Military Hospital in Verona, where he would attend shows at the Arena. He eventually decided to look for a different career path.

After serving in the military for two years, Armani became a window dresser and sales clerk at La Rinascente, a department store in Milan in 1957. In that same year at the store, he was responsible for showcasing the earliest garments of the innovative Finnish textiles, clothing, and home furnishings company, Marimekko. He went on to become a seller for the menswear department. In that capacity, he gained valuable experience in the marketing aspect of the fashion industry. In the mid-1960s, Armani moved to the Nino Cerruti company, where he designed menswear. His skills were in demand, and for the next decade, while continuing to work for Cerutti, Armani also freelanced, contributing designs to as many as ten manufacturers at a time.

In the late 1960s, Armani met Sergio Galeotti, an architectural draftsman, which marked the beginning of a personal and professional relationship that lasted for many years. In 1973, Galeotti persuaded him to open a design office in Milan, at 37 Corso Venezia. This led to a period of extensive collaboration, during which Armani worked as a freelance designer for several fashion houses, including Allegri, Bagutta, Hilton, Sicons, Gibò, Montedoro, and Tendresse. The international press was quick to acknowledge Armani's importance following the runway shows at the Sala Bianca in the Pitti Palace in Florence. The experience allowed Armani to develop his style in new ways. He was now ready to devote his energy to his own label, and on 24 July 1975, he founded Giorgio Armani S.p.A. in Milan, with his friend Galeotti. In October of that same year, he presented his first collection of men's ready-to-wear for Spring and Summer of 1976 under his own name. He also produced a women's line for the same season.

Italian manufacturers had begun to invest in local designers and did so on unusually favourable terms. They financed production and marketing and paid the designers a percentage of the profits. New designers such as Armani could begin their businesses free from debt, with ambitious fashion shows and advertising campaigns.

Over the years the designer has made it very evident that he chooses not only to support the fashion industry, but to add to the art field as well. The information provided by The Museum of Modern Art gives an example of how in 1990 Armani supported the New York show, Pier Paolo Pasolini: The Eyes of a Poet. This show was an exhibition taking an inside look into artist Pasolini, specifically, it presented people twenty-two films. Although, Pasolini was known for a plethora of things, knowing that he created works mostly in the form of film or writing shows another side of Armani demonstrating an example of his appreciation of the arts.

Giorgio Armani in 2009

Armani established an innovative relationship with the fashion industry, characterized by the 1978 agreement with Gruppo Finanzario Tessile (GFT), which made it possible to produce luxury ready-to-wear in a manufacturing environment under the attentive supervision of the company's designer. In 1979, after founding the Giorgio Armani Corporation, Armani began producing for the United States and introduced the Main line for men and women. The label became one of the leading names in international fashion with the introduction of several new product lines, including G. A. Le Collezioni, Giorgio Armani Underwear and Swimwear, and Giorgio Armani Accessories. In the early 1980s, the company signed an important agreement with L'Oréal to create perfumes and cosmetics Armani Beauty and introduced the Armani Junior, Armani Jeans, and Emporio Armani lines, followed in 1982 by the introduction of Emporio Underwear, Swimwear, and Accessories. A new store was opened in Milan for the Emporio line, followed by the first Giorgio Armani boutique. Armani's concern for the end user culminated in the development of a more youthful product with the same level of stylistic quality as his high-end line, but at a more accessible price. Because of the nature of the Emporio line, Armani felt that he had to make use of new and unconventional advertising methods. These included television spots and enormous street ads, together with a house magazine that was sent out by mail to consumers, and faithful Armani Eagle wearers.

Armani also felt that a relationship with the cinema was essential, both for promotional reasons and for the stimulus to creativity. Armani had the honour to produce his work for the infamous film American Gigolo, specifically for the actor Richard Gere who played the character Julian Kaye. The production of his work through film really helped publicize Armani's talents. It also heavily publicized his name, Gere wrenching open a drawer of Armani shirts, perfectly folded, labels exposed, before composing four entirely Armani outfits in what ultimately amounted to cinema's best advertising campaign for a fashion brand ever. It projected Armani's name and style to an audience far broader than any fashion magazine could reach. The film made Gere a star, and Armani too. Armani designed costumes for more than one hundred films, one of the most important of which was The Untouchables (1987).

In 1983, the designer modified his agreement with GFT. They began to produce both the Mani line for the United States and his high-end ready-to-wear line, rechristened Borgonuovo 21, after the address of the company headquarters. During the late 1980s, despite Galeotti's death in 1985, Armani continued to expand commercial horizons and licensing agreements. He opened Armani Japan and introduced a line of eyeglasses (1988), socks (1987), a gift collection (1989), and a new "basic" men's and women's line for America known as A/X Armani Exchange (1991). After the frenetic expansion of the 1990s (sportswear, watches, eyeglasses, cosmetics, home, and new accessories collections), 2000, the twenty-fifth anniversary of the brand, saw a flurry of investment activity, including stock sales and the acquisition of new manufacturing capacity intended to increase Armani's control over the quality and distribution of his products.[citation needed ]

Armani's men's and women's skiwear and ski casualwear line was developed in 1995. His 1991 project, A/X: Armani Exchange, represented Armani's attempt to break into the American mass market, offering lower prices for relaxed chic clothes.[citation needed ]

Giorgio Armani, in September 1997

In 1996 his long-time friend Eric Clapton composed songs for Armani's fashion shows and has since dressed in Armani. Later that year Clapton opened two Emporio Armani stores in New York City. In 1998 Armani hosted a party for Clapton's Crossroads guitar auction.

The Oxford Art Journal made note in their article, "Hermes in Asia: Haute Couture, High Art and The Marketplace", that the designer took influences from other cultures as inspiration for some of his works and cited his Japanese designs as examples. Armani also prepared to break into the Chinese market by opening up his first store in that country in 1998. A small shop in Beijing was followed by a flagship store in Shanghai in 2004 and plans for 40 by 2011. In 2000, Giorgio Armani SpA was introducing new lines of cosmetics and home furnishings, and expanding its line of accessories.

Armani has had a broad level of influence internationally because his work has reached far beyond just clothes and accessories of haute couture. His work can be referenced with many infamous artists of the past who created other types of art. Because of how valuable and detailed his job is, it often forms a bridge from fashion to art. An example is the Guggenheim Museum in New York hosted an exhibition of Armani's work - a first for a living designer - with an average attendance of 29,000 a week. This is referenced in the periodical The Aesthetics of Smelly Art, inside the Journal of Aesthetics and Art Criticism.

In 2008, Armani designed a bullfighting costume entitled the "Goyesco" that was worn by Spanish bullfighter Cayetano Rivera Ordóñez at the "Corrida Goyesca" in Ronda, Spain. They have also collaborated on several fashion shows and other events.

In 2011, Armani became the first luxury designer to accept Livia Firth's Green Carpet Challenge to highlight sustainable fashion created out of recycled plastics and fabrics. His designs for the challenge were a dress for her and a tuxedo for her then-husband, actor Colin Firth.

As of 2009, Armani had a retail network of 60 Giorgio Armani boutiques, 11 Collezioni, 122 Emporio Armani, 94 A/X Armani Exchange, 1 Giorgio Armani Accessori, and 13 Armani Junior stores spread over 37 countries. As of 2017, he had an annual turnover of $1.6 billion and a personal fortune of $8.1 billion.

In 2015, Giorgio Armani was an artist who was a part of the Paris Photography Public Programme. This event helped showcase a variety of special exhibitions. As an official partner, Armani's ACQUA #6, represented works that focus on the theme of water in photography.

In 2001, Armani was acclaimed as the most successful designer of Italian origin.

Armani is credited with pioneering red-carpet fashion.

Armani was the first designer to ban models with a body mass index (BMI) under 18, after model Ana Carolina Reston starved herself to death due to anorexia nervosa.

Armani broadcast his collection live on the Internet, the first in the world of haute couture, on 24 January 2007. The Armani Privé Spring/Summer 2007 fashion show was broadcast via MSN and Cingular cellular phones.

Armani has designed many stage outfits for pop superstar Lady Gaga, including those worn on her record-breaking Monster Ball Tour and Born This Way Ball Tour. He has also designed for many high-profile award shows, such as the 52nd Grammy Awards and the 2010 MTV Video Music Awards.

Giorgio Armani and Emaar Properties PJSC signed an agreement in 2005 for Emaar Properties PJSC to build and operate at least seven luxury hotels and three vacation resorts under the Giorgio Armani name. Giorgio Armani would be responsible for overseeing all aspects of the interior design and style of the hotels.

The Armani Hotel was opened in Burj Khalifa on 27 April 2010, comprising the bottom 39 floors of the supertall skyscraper in Dubai, United Arab Emirates; it has 160 guest rooms and suites, and 144 residences. Giorgio Armani is also designing the interiors of the Armani Residences, also within the skyscraper, and its specially designed line of products from the Armani/Casa home furnishings collection.

Armani Musica presents Emporio Armani Caffè compilations, a series of special CD compilations curated by Giorgio Armani with DJ-sound designer Matteo Ceccarini, offering an eclectic mix of conceptual sounds and underground rhythms.

Armani with Olimpia Milano basketball players at Vogue Fashion's Night Out, September 2009.

Giorgio Armani has a keen interest in sports. He is the president of the Olimpia Milano basketball team, and an Inter Milan fan.

He has twice designed suits for the England national football team. He has since designed suits worn by players of the London club Chelsea since August 2007.

He designed the Italian flag bearers' outfits at the opening ceremony at the 2006 Winter Olympics in Turin, and also designed Italy's Olympic uniforms for the 2012 Summer Olympics in London. Armani also designed and introduced the EA7 range, a brand inspired by Ukrainian footballer Andriy Shevchenko, who at the time played for A.C. Milan and wore the number 7 jersey. As regards sports, Armani owns Italian basketball club Olimpia Milano and has designed uniforms for the Italian Olympic and Paralympic teams.

Chelsea commissioned Armani to create a new look for its Directors' Suite at Stamford Bridge.

Beginning in 2021, Giorgio Armani entered into a multi-year sponsorship agreement as an official supplier to Scuderia Ferrari. Armani will provide official and travel ensembles to members of the team in return for brand exposure and association with the world's number-one brand and most popular motorsport team.

Armani is an intensely private man, but has publicly identified as bisexual. He had a longstanding relationship with his business partner, the fashion designer Sergio Galeotti, who died of a heart attack in 1985. He has some relatives in the United States as well. Giorgio Armani spends much of his time according to family on his over 200 ft yacht and loves sailing.

Giorgio Armani Honor at the Walk of Style, Beverly Hills

Italy: Knight Grand Cross of the Order of Merit of the Italian Republic (14 July 2021)[31]

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Giorgio Armani (Italian pronunciation: [ˈdʒordʒoarˈmaːni]; born 11 July 1934) is an Italian fashion designer. He first gained renown working for Cerruti and then for many others, including Allegri, Bagutta, and Hilton. He formed his company, Armani, in 1975, which eventually expanded into music, sport, and luxury hotels.

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Brainstorming ideas

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Bottega Verde Natura Italiana Brand Video

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ABOUT BOTTEGA VERDE Bottega Verde, the leading Italian brand in the production and sale of cosmetics made with natural ingredients, originated as a herbalist's shop in 1972 in Pienza, Italy, in the heart of the truest, most natural region of Tuscany. In 1992 it became the property of the Lavino family.