The late choreographer Pina Bausch’s translation of movement into evocative expressions of emotion has long made her a favourite inspiration in fashion; Dries Van Noten, Simone Rocha, Christophe Lemaire, Ludovic de Saint Sernin and Dior are a few of the runways we’ve seen her referenced on in recent seasons. Bausch also enjoyed a long creative relationship with Yohji Yamamoto and once collaborated with Miuccia Prada on a handbag.
It was Maximilian Davis’s turn to put Bausch on his mood board this morning at a Ferragamo show that acted as a sequel to last season’s ballet-inspired fashion performance. The runway was strewn with petals (Nelken by way of American Beauty), and there were floral embellishments at the ankle or heels of some sandals that also echoed vintage campaigns by the house. Two striking, thickly fringed mesh dresses near the end were hung with carnation-like florals. Some of the oversized tailored outerwear echoed the garments that Bausch was sometimes photographed wearing, and much of Davis’s tailoring was cut in jersey to afford freedom of movement.
Because “a lot of her references came from the 1920s,” said Davis, he also worked to incorporate gently surrealistic elements into the collection. These included double iterations of the house Hug bag worn at the waist, and a later jacket and dress that grafted adapted versions of the bag into the garments as front pockets. Drop-waist dresses were divided into satin, lace, and treated-shearling fur horizontal sections. Dresses, bags, and skirts were adorned with feathers whose usual quill down orientation was subjected to a 180-degree ruffle. Trench coats were reimagined as satin dresses to generate a satisfyingly unconventional discordance between form and category. This was another fur-filled collection in a season full of them: An appropriate to Ferragamo highlight here were the fur-strapped flip-flops that left the runway’s petals dancing in their wearers’ wake.
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