While Europe and the US presumably remain Salvatore Ferragamo’s most important markets, Asia (Japan included) actually comprises 49 percent of the brand’s revenue. From the lavish presentation, it was evident that the fashion house has full confidence in China’s potential.
Ferragamo did a Western take on minimalism, and wove the two to perfection. Above the entrance to the Forbidden City’s main palace were red square lambs adorned with the house insignia. A bridge welcomed guests to the main cocktail area, where huge panoramic screens chronicled the highlights of Salvatore Ferragamo’s illustrious career as a shoemaker to stars such as Audrey Hepburn, Marilyn Monroe, Greta Garbo, the Duke and Duchess of Windsor, Princess Diana, Madonna, Catherine Zeta-Jones, Zhang Ziyi, and many more.
The evening’s hosts came in full force: Salvatore Ferragamo’s eldest son and the house’s CEO Ferruccio, daughter and vice president Giovanna, daughter and head of accessories Fulvia, and grandson and head of woman’s leather goods James. Joining them were managing director for Asia Raymond Malherbe, regional marketing director Cecilia Wong, and Stores Specialists Inc. president and the exclusive distributor of Salvatore Ferragamo in the Philippines, Zenaida Tantoco. Also present were members of Beijing’s elite, government officials, and some of the most beloved Chinese celebrities, including Tony Leung and Karen Mok.
A musical presentation followed. A modern take on traditional Chinese percussion instruments resulted in a spine-tingling world beat that raised spirits and anticipation. The dramatic sound ushered in the unveiling of the black curtains that led guests to the main fashion-show area. A sunken white narrow ramp against a white backdrop prepared the audience for a 79-exit exhibition.
As guests settled in and the lights went black, Salvatore Ferragamo’s spring/summer 2006 fashion show commenced. The collection opened with a series of black and nude numbers by lead women’s designer Graeme Black, which illustrated his expertise in construction, understatement, and fluidity. Having been head designer for Giorgio Armani for six years prior to joining Ferragamo, Black’s minimalist sensibilities were apparent. His lines were very symmetric and fashion outlook very balanced. Pieces for daywear were mostly separates clearly intended for mixing and matching, while his evening wear was subtly sensual and mysterious. Inspired by a river cruise on the Bosphorus in Turkey, he made the world of mosques and minarets the jumping-off point for patterns worked into the fabric.
Black’s fashion story progressed to a complete contrast. His muted opening sprang into exuberance, played out in rich turquoise and mauve. Metallic pink and green shoes accessorized the clothes, as did metallic and leather bags. Earlier in his career, Black worked as assistant to John Galliano and embraced the latter’s fervor for fashion dynamism and freedom. His blend of colors, prints, fabrics, and shapes were a clear expression of this freedom he so values as an artist. He emphasizes, "I love dressing the woman and having her personality come out through the clothes. It is very important to be keen on her evolving nature to make the clothes relevant to her, rather than the other way around."
Knits played an important part in Black’s fashion story, with key items such as fitted jackets, shorts, pleated miniskirts, layered fabrication, and thick lower-hip cuts. Black is big on prints and foregoes strict coordination. The total look is of freedom coupled with whimsical elegance. There is room for playfulness and flexibility, yet the show soon reverted back to his signature sophistication. A glistening array of whites followed. Picture pretty dresses reminiscent of the ’50s immediately followed by white stone-encrusted gowns that followed each contour and shape of the female form. The closing number was a show-stopping striped black-and-white stretch gown that truly encapsulated Black’s statement for Salvatore Ferragamo: crisp, clean, and cohesive.
The men’s collection by men’s lead designer Massimilliano Giornetti, on the other hand, was inspired by the ’40s and ‘50s’ cinematic charm. The former knitwear designer says it’s relaxed and casual; innovative and sophisticated. "The Salvatore Ferragamo man is a man of ease despite his stature. He meets the past with the future, and finds comfort in merging what’s traditional with what’s modern," Giornetti explains.
The youthful Giornetti employed more color, texture, and whimsy in his collection, which was nevertheless a fashion-forward, contemporary, and dynamic line that represents the suave and urbane man of current times.
Giornetti is cautious about not altering the Salvatore Ferragamo heritage in his attempt to modernize the look. He is quick to stress how fashion is always changing and progressing and how he, as a designer, must be able to pick up what is essentially Ferragamo and bring it to the next level. This is obvious in his array of jackets enlivened with accents on the chest-pocket area, use of stingray skin as apparel material, and combination of tailored suits with Bermuda shorts. He muses, "Women are known to use accessories to accentuate their outfits. For men, this is not done as much. So infusing accessories is sort of like a provocation."
The overall look is sporty and fresh. The shoes, hats, scarves, and eyewear are casual accents that still make a style statement. If anything, the male collection exudes and defines fun.
As the show drew to a close and both designers did their curtain call, the Beijing audience gave them a standing ovation, clearly impressed by the invigorated clothing line. If Salvatore Ferragamo continues to raise the bar on its clothing line, it will eventually equal its legacy in shoes and bags. It’s a tough call, and the luxury brand has tough competition to reckon with. But the House of Salvatore Ferragamo seems to be on track. And Asia will definitely play a critical role in achieving that. Only time will tell if the house can, indeed, step up.