Maximilian Davis‘ take on Ferragamo is an ambitious work in progress. His sophomore runway collection, comparing to the loud debut from September, focused on streamlined silhouettes and timeless wardrobe building-blocks. Davis said he began by looking to the 1950s, a house sweet spot when clients included Audrey Hepburn and Marylin Monroe, who would order her favorite four-inch Filetia and Viatica pumps in bulk. Whether on screen or off, the worn vernacular of that time in Western cultures was pretty consistent; tailoring and first-wave Ivy League sportswear for men, and optimistic, post-war abundant full skirting and chastely sexualizing waists and necklines for women. Davis took these period features – focusing especially on circle skirts, nipped waists and sweetheart necklines for women – then effectively worked to add contemporary elements in fabrication or via delicate sportswear detailing. He simultaneously defined his tailoring template – a high-lapeled, one-and-a-half breasted, and as-nipped-as-womenswear jacket shape – and then expanded it equally across both genders. Some more off-duty looks (jeans and tank tops, trenches over shorts) acted as punctuation marks, as did cocoon-like hoodies double layered over flaring long-line skirts. Bags included handsome oversized daybags in lilac and natural lizard. This young designer showed a mature restraint by waiting for a third of the run before pushing the tone of red that Ferragamo is trying to claim as its own, hitting us with a precise red pantsuit and male-worn leather trench. The technical control, however, seemed to block Davis’ more daring, creative side. The lack of a so-called “hero look” made the collection somewhat too stiff.

Collage by Edward Kanarecki.
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