Luxury house Ferragamo presents its Spring Summer 2025 campaign through the lens of fashion photographer Juergen Teller, capturing Maximilian Davis’ vision within the historical setting of Tuscany’s Villa Mangiacane. The imagery contrasts Renaissance-era architecture with contemporary styling, emphasizing the refined yet playful direction Davis continues to explore. “We wanted to show the DNA of Ferragamo in a real and immediate moment,” he explains. “It’s about showing the elegant classicism of the brand, but making it a little more perverse, a little more playful.” The collection balances archival references with a modern sensibility, bringing past and present into dialogue.
In charge of styling was Lotta Volkova, with creative direction from Ferdinando Verderi and creative partner Dovile Drizyte. Beauty is work of hair stylist Virginie Pinto Moreira, makeup artist Thom Walker, and manicurist Sylvie Macmillan. Models Liu Wen, Claudia Campana, Diego Gomez, and Naoki Sumiya embody a relaxed elegance throughout the campaign, seen lounging in sculptural sandals or wrapped in silk-ribbon ballet flats. Patent red kitten heels, drawn from the archive, contrast against an antique golden sofa, while the intricately interlaced Gancini coat stands out against the villa’s aged walls. Bags take on a tactile presence – soft nappa leather pierces through a structured Gancini bag, while a frayed cotton Hug bag offers a deconstructed take on an established silhouette.
“I’ve always incorporated different historic eras in my work – eras which feel relatable to me and my heritage,” says Davis. “At Ferragamo, I’ve sought out similarities – and the beauty of this brand is that there are so many different stories you can relate to. Every shoe has a meaning behind it. Every shoe has a story.” This season, those stories unfold across references spanning decades, from the elegance of mid-century eveningwear to the ease of ‘80s casualwear.
The collection itself draws on balletic influences, seen in second-skin cashmere cotton layers that twist and tie, alongside opera coats and parachute dresses shaped in silk nylon, suede, and organza. Rudolf Nureyev’s wardrobe inspires oversized tailoring and technical tracksuits, while Katherine Dunham’s mid-century glamour appears in sequin embroidery treated with a modern resin finish. Caribbean influences surface through frayed, stonewashed denim and organic textures, with raw finishes playing against the collection’s sculptural forms.
Footwear reflects this duality, with sharp silhouettes like the angular Eva pump and lace-up graphic sandals extending the ballet inspiration through matte silk ribbons. Fringed jacquard mules and geometric booties reference archival 1940s styles while maintaining a contemporary edge. Accessories continue this narrative, with handbags that collapse into themselves, softened leathers pierced with metal Gancini details, and the Hug bag evolving into a single-handle clutch. The Foulard bag takes its form from the drape of scarves, echoing fluidity across the collection.
