For Maximilian Davis’ Ferragamo debut, the designer unveiled a new dawn for the brand: a renaissance of its Hollywood history. “I wanted to pay tribute to Salvatore’s start by bringing in the culture of Hollywood – but new Hollywood,” explained Davis. “Its ease and sensuality; its sunset and sunrise.”

His fresh take on the language of luxury blended contemporary minimalism with Florentine drape: an homage to the birth city of the house. It was a collection that materialized itself through sheer knits, liquid silk and layers of organza, but remained grounded by suede sandals drawn from Renaissance reality, and polished accessories.

 The languid, beachfront glamor of new Hollywood was subverted by flashes of fetishism: glossy leathers, second-skin fits and micro shorts. Elevated everyday essentials – tank tops, polo necks, leggings – appeared almost perverse in their simplicity. Effortless knits were wide-woven to reveal the skin beneath, or so fine as to appear translucent. Drawing upon the sparkling red shoes Ferragamo made for Marilyn Monroe in 1959, the collection was scattered with crystals: the Hollywood hallmarks of glitz and glamor.

 Tailoring twisted classic masculine cuts: perfectly-proportioned, louche refinement formed from fabrics often reserved for womenswear. The tuxedo was injected with a fresh energy, shirting was cut in silk organza and cotton poplin with collars or sleeves removed. The Wanda bag – first introduced in 1988 and named after Salvatore’s wife – is reinterpreted in sleek new proportions, while a prismic shoulder bag carries a sense of minimalist modernity. 

The new Elina heel was clearly defined, while the revival of a cut-out bag, now realized in polished leather with a contrasting canvas inner, echoed the undulating shapes of sculptural jewelry. Floating scarves were streamlined; archival prints reduced, redrawn and reimagined. 

The color palette was extracted from Rachel Harrison’s Sunset Series, utilising bold colors, degradé prints and hand-dyed knits; from optic white to deep indigo, butter soft yellow to sky blue. A new Pantone red formally codified the brand’s iconic hue, dominantly visible both throughout the collection and within the show space, coloring the sand which covered the floor. “The sand relates to Ferragamo, to Hollywood, to the ocean – but also to me, and to my own DNA,” explains Davis. “To what the sea means to Caribbean culture: a place where you can go to reflect and feel at one. I wanted to show that perspective, but now through the Ferragamo lens.”

 The show took place in the palace of the former Archbishop’s Seminary of Milan, which was commissioned by Saint Carlo Borromeo in the 17° century and remains considered a historic model of Baroque and Neoclassical architecture. Now the subject of a conservation and renovation project, the Seminary will soon host the Portrait Milano hotel and a new destination in the heart of Milan featuring boutiques, restaurants, and a garden space.

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 Discover our exclusive backstage images by photographer Schohaja.