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What a varied phenomenon this resort season has turned out to be as it unfolds in New York, London, and Paris. Some designers chat through a rack of clothes one on one, others have mini-presentations with models in studios, and some take it as a summertime opportunity to throw parties on a scale the audience isn’t likely to forget. The Salvatore Ferragamo resort presentation falls into the latter category and, as a show held at the Louvre in Paris with 700 guests, it was a gesture outranked in magnificence only by Chanel’s commandeering of the gardens surrounding the palace of Versailles for one evening of entertainment last month.
In one way, this was Ferragamo’s grand announcement of its policy of underwriting cultural events; the Italian company has sponsored the Louvre’s current exhibition “Saint Anne, Leonardo Da Vinci’s Ultimate Masterpiece,” an in-depth examination of the iconography of the recently restored Virgin and Child with Saint Anne. And at the fashion level, it was the storied company’s opportunity to launch its 40-year-old designer Massimiliano Giornetti into the consciousness of a global audience, all of whom had been flown in for the night. He’s no recent hire grafted onto company culture, however: Giornetti has been at Ferragamo for twelve years. He started as a backroom menswear designer, and gradually moved up to the position of Creative Director, taking full responsibility for all collections starting in 2010. That’s given the Ferragamo family more than a decade to develop his talent and technical know-how, it’s a long time to marinate in the unique skills and disciplines inherent to a family leather goods company founded on the pre-World War II shoe-design genius of Salvatore Ferragamo.
That was the message, the superb quality of Made-in-Italy craftsmanship Giornetti showcased on about a 150-yard runway that stretched into what looked like the far distance along the honey-colored stone colonnade of the Denon peristyle, and this was first time the Louvre has permitted its use for a fashion show inside. Apparently nerveless, Giornetti said he felt undaunted by the thought of showing in the midst of the very temple of French art and culture: “It was an honor and a joy.”
Rather than attempting to outdo French fashion on its own turf, the collection was, if anything, more of a tribute to American styling or, rather, to the subgenre of luxe Western that perennially pops up on runways in Milan. Fringing, cross-laced stitching, suede crochet, and all kinds of intricate forms of hand-knotting and basket-weaving were deployed in the seams and surface textures of soft biker jackets, tiny long-sleeved dresses, and pants that were constructed from multiple strips of leather.
Giornetti’s concession to the setting was in his choice of color, it was a dusty palette calculated to blend harmoniously with the ancient stonework. If it didn’t break any new ground in fashion terms, perhaps that’s deliberate. Giornetti talks more in terms of appealing to customers who acquire clothes as daily pleasures and long-term investments in personal style. The far bigger and longer-lasting statement of the evening was, of course, on a different level: It places Salvatore Ferragamo as a brand with global pulling power.
What a varied phenomenon this resort season has turned out to be as it unfolds in New York, London, and Paris. Some designers chat through a rack of clothes one on one, others have mini-presentations with models in studios, and some take it as a summertime opportunity to throw parties on a scale the audience isn’t likely to forget. The Salvatore Ferragamo resort presentation falls into the latter category and, as a show held at the Louvre in Paris with 700 guests, it was a gesture outranked in magnificence only by Chanel’s commandeering of the gardens surrounding the palace of Versailles for one evening of entertainment last month.
In one way, this was Ferragamo’s grand announcement of its policy of underwriting cultural events; the Italian company has sponsored the Louvre’s current exhibition “Saint Anne, Leonardo Da Vinci’s Ultimate Masterpiece,” an in-depth examination of the iconography of the recently restored Virgin and Child with Saint Anne. And at the fashion level, it was the storied company’s opportunity to launch its 40-year-old designer Massimiliano Giornetti into the consciousness of a global audience, all of whom had been flown in for the night. He’s no recent hire grafted onto company culture, however: Giornetti has been at Ferragamo for twelve years. He started as a backroom menswear designer, and gradually moved up to the position of Creative Director, taking full responsibility for all collections starting in 2010. That’s given the Ferragamo family more than a decade to develop his talent and technical know-how, it’s a long time to marinate in the unique skills and disciplines inherent to a family leather goods company founded on the pre-World War II shoe-design genius of Salvatore Ferragamo.
That was the message, the superb quality of Made-in-Italy craftsmanship Giornetti showcased on about a 150-yard runway that stretched into what looked like the far distance along the honey-colored stone colonnade of the Denon peristyle, and this was first time the Louvre has permitted its use for a fashion show inside. Apparently nerveless, Giornetti said he felt undaunted by the thought of showing in the midst of the very temple of French art and culture: “It was an honor and a joy.”
Rather than attempting to outdo French fashion on its own turf, the collection was, if anything, more of a tribute to American styling or, rather, to the subgenre of luxe Western that perennially pops up on runways in Milan. Fringing, cross-laced stitching, suede crochet, and all kinds of intricate forms of hand-knotting and basket-weaving were deployed in the seams and surface textures of soft biker jackets, tiny long-sleeved dresses, and pants that were constructed from multiple strips of leather.
Giornetti’s concession to the setting was in his choice of color, it was a dusty palette calculated to blend harmoniously with the ancient stonework. If it didn’t break any new ground in fashion terms, perhaps that’s deliberate. Giornetti talks more in terms of appealing to customers who acquire clothes as daily pleasures and long-term investments in personal style. The far bigger and longer-lasting statement of the evening was, of course, on a different level: It places Salvatore Ferragamo as a brand with global pulling power.
Selections by ANDREA JANKE Finest Accessories
Photos: Courtesy of Salvatore Ferragamo
Source: VOGUE
Enjoy my introduction to SF catwalk -
'Exclusive Louvre's Denon Catwalk by Salvatore Ferragamo'
Enjoy my introduction to SF catwalk -
'Exclusive Louvre's Denon Catwalk by Salvatore Ferragamo'
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