Maximilian Davis‘ spring-summer 2025 collection for Ferragamo is dedicated to modern dance. Seen through a slightly sinister lens of Luca Guadagnino’s “Suspiria” remake (the monotonous curtains of the show’s venue were very Tanz Akademie, very Madame Blanc), images of Nureyev (who apparently danced in the Ferragamo shoes) and ballet photographs by Hans van Manen, this was a tribute to rough-around-the-edges sort of dance. Loose trench coats with dropped-waist belting, field jackets and sectioned skirts were cut in metal-spiked nylon. The menswear emanated that ’80s off-duty ballet hunk vibe that Nureyev so powerfully emanated – this was further transmitted in a great, oversized black leather pea coat. Leggings, bodies, and ribboned pointed-toe pumps were worn with double wrapped tops that mirrored the classic ballet cardigan. It’s well-known fact that Ferragamo is having a hard time commercially, but Davis does everything he can to make the brand feel like a place to go back to – and investment in.
Collage by Edward Kanarecki.
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Sabato De Sarno can play the most uplifting Italian music, riff on Tom Ford and Frida Gianini’s archives, have all the models of the moment walk his runway and talk lots about big feelings, but I still don’t his Gucci. When you unpack the spring-summer 2025 collection from an envelope of good-looking marketing ploy, you end up with unimaginative, poorly edited and most of the time stiff-looking clothes that are neither desirable or anything close to jet-set style that seemed to be this season’s key inspiration.
P.s The neon-green bathrobe in Gucci monogram must be a joke. It’s 2024, come on!
Collage by Edward Kanarecki.
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At Tod’s, Matteo Tamburini offers honest, minimalist, yet lively clothes you want to buy into. The spring-summer 2025 collection was inspired with Cycladic sculptures, but the designer treated the reference lightly. Crafted mostly from leather, the line-up explored the play between structure and fluidity. The pleated bottle-green dress was sublime, just as the canary-yellow t-shirt, and the smoothness of their leather textures looks (and feels) truly striking. Tamburini doesn’t try to be the next The Row with his vision of Tod’s, and isn’t doing minimalism that has a generic, Toteme-like feel. His “less is more” is bold and captivating. And investment-worthy.
Collage by Edward Kanarecki.
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