Maximilian Davis continues his conversation with Ferragamo’s past.
This time, through polished tailoring, leather, sheer dresses and a distinctly architectural vision of modern elegance. A real sense of luxury without ever feeling overdone.
Ferragamo has been looking back to the 1920s for several seasons now. For Spring/Summer 2027, Maximilian Davis keeps that conversation going, but the result feels less like a direct revival and more like a world built from fragments of the past.
Following Roberto Cavalli’s wild take on SS27, Ferragamo offered a much more restrained vision of Milanese glamour.
The show opened in a setting of dark wood, geometric panels and long shadows stretching across the floor. The models looked almost like they had walked out of an old fashion photograph – controlled hair, precise silhouettes, polished shoes and an overall sense of composure. Yet somehow, it still felt completely of the present: timeless, classy and very Ferragamo.
The first looks established the language quickly. A taupe tailored dress came with a raised waist and oversized black belt, followed by sharp black tailoring and wide-legged trousers. The proportions stayed clean throughout, with the waist sitting higher than in previous collections and the clothes following the body without becoming overly tight.
It felt like a top-notch architecture magazine had come to life. The set’s repeated rectangular shapes were echoed by the clothes, while the collection moved between soft tailoring, structured leather and unexpected folds. The mood, the dark wood, the lighting and the raw colours reminded me of a very polished version of Art Deco.
Leather quickly became one of the collection’s dominant materials. It appeared in skirts, jackets, dresses, shirts and full looks, including a particularly striking menswear silhouette where the shirt, trousers and jacket were all rendered in dark leather. Elsewhere, a dark cherry-red leather shirt brought a warmer tone into the otherwise restrained palette of camel, brown, black, grey and white.
The accessories followed the same logic. Bags appeared in deep red, olive and greenish tones, moving between matte suede, slightly glossy finishes and crocodile-like textures. Belts became almost as important as the garments themselves, with oversized hardware sitting prominently at the waist and giving even the simplest looks a more graphic quality.
Then came the transparency.
Sheer fabrics appeared repeatedly throughout the show, sometimes layered carefully enough to remain almost abstract, and sometimes worn completely transparently. The effect wasn’t about turning the clothes into lingerie; transparency became another texture within the collection.
The collection also brought back one of Davis’s recurring interests in unexpected construction. Garments folded, wrapped and shifted around the body, although the origami-like manipulation felt more restrained here than in some of his earlier work. A turquoise trench coat broke up the earthier palette, while glossy latex dresses and trench coats introduced another surface entirely.
The shoes weren’t there to create another dramatic element. Instead, they added to the perfect balance of the collection. There was a small twist to the heels, with earring-like crystals and gold hardware sitting above the toes. Even the smallest details felt considered.
The evening pieces followed the same disciplined approach. Toward the end, velvet entered the collection before a long, dark-brown sheer turtleneck dress covered in oversized sequins closed the show, worn by Anok Yai.
If Davis’s recent Ferragamo collections have been about reconnecting the house with its origins, SS27 feels like another step in deciding what that history can look like now. The references are there – the tailored silhouettes, the polished surfaces, the controlled glamour – but they are mixed with sheer fabrics, plastic textures, heavy leather and exaggerated hardware.
The result is a Ferragamo woman and man who feel as though they belong to another era, but have no interest in staying there.
