Maximilian Davis’s name was frequently mentioned during the pandemic when, in the midst of chaos, many in the fashion world were imagining the “aftermath.” Davis was studying, designing, and creating when he was noticed by the team that was rebuilding Ferragamo, starting with CEO Marco Gobbetti, who arrived at the helm in January 2022. Less than a year later, in September, Davis’s first collection for Ferragamo was presented at the renovated Portrait Milano hotel, located in a grand seminary from the 16th century. Below, Davis speaks with Vogue about his first collections, exploring the archives, and why he took the job.
Vogue: What was your life like before Ferragamo?
Maximilian Davis: It feels strange to say this, but the two years of pandemic led me to define my aesthetic and professional path. First I worked in the style office at Wales Bonner, then at Dover Street Market. Right before the lockdown I had made a small collection with my name on it. I was supposed to photograph it together with my friends Rafael Pavarotti and Ib Kamara, but suddenly everyone had gone home and nothing could be done anyway.
This gave me the opportunity to continue working on the clothes, refining and perfecting them before showing them to the world, as well as doing research, building a real identity around them. Only then did I apply for Fashion East, a British platform that supports emerging designers by providing grants and exhibition space, while also helping them get media attention. I contacted the founder, Lulu Kennedy, and was convinced she would reject me, but instead she sent me a message full of enthusiasm. She wrote that she had not seen anything like my application in a long time.
And when did you realize Ferragamo would be the right place for you?
Ever since I was a kid, I always wanted to be a designer. When they called me for this position, I was amazed. I remember thinking that maybe it was too soon. But then I told myself that everything happens for a reason. From that moment when I had finally been able to devote myself to my dream until the announcement, everything fell into place. It was Marco Gobbetti who gave me the strength to believe in myself and in this adventure. I spent two weeks researching the brand, looking at all the old ad campaigns and lookbooks, studying the shows.
What did you learn?
That I have more in common with Ferragamo than I ever expected. I found clothes and accessories in the archive that I thought were very current, and that have some connection to my work. The idea of bringing a little bit of myself into the new direction of the brand started to feel very natural to me.
Are there any specific pieces or moments in the archive that stood out to you?
I must admit that I did not expect to find 14,000 pairs of shoes! The first thing I thought was “we need to bring them all back.” They are incredibly well-made models, perfectly wearable even today. And then my mom and sister have always been big fans of shoes—they also studied fashion—and when I was a kid I would watch them getting ready for an event, for work or whatever, looking at all the shoes they were trying on. Then there is Salvatore Ferragamo’s connection with Hollywood. Although my brand was very young, it had attracted the attention of stars like Rihanna and Dua Lipa, who wanted to wear my clothes. So I think it will be nice to rediscover that connection, make it relevant by collaborating with actors and musicians who can represent the renewed identity of the brand.
I understand that your idea of how to be a creative director is related to your relationship with others, starting with your family.
Absolutely. And so it was for Ferragamo, because the history of this company is a family history, in which every member had a role. And similarly, I would not be here without the passion that my grandparents and parents passed on to me. My father is very passionate about tailoring; he has more than 40 suits. This interest of his was a reference point when I started working on my brand, because it is through that that I gained my knowledge about design, proportions, materials.
What about your relationship with your friends, the people inside and outside the fashion system who support your work? Naomi Campbell, for example, was front row at your debut show.
It is very nice to have this support and to see this community grow. Some are classmates. They also work in fashion and it’s great to follow this path together. We have become a family. They make me feel at home even when I am far away.
How do you find working here in Italy?
In Italy and Milan fashion is more relaxed, there is an innate elegance that I also want to tell through my work. The first weeks I was commuting between London, Milan, and Florence, and the Tuscan capital was perhaps the real shock. Florence is lazy and beautiful, but also very inspiring. I went to a Catholic school and finding myself surrounded by all that art almost shocked me. It made me feel inspired in a way I hadn’t known before. Then, in Florence, I have the privilege of discovering that path that leads to a material or fabric waiting to be transformed into a product that I have imagined. I work with a team that loves what they do every day and enjoys it. It’s an incredible collaboration and they are becoming part of my family as well.
What are the early creations that give you the most satisfaction?
In the first collection, spring 2023, the dresses we created with 90x90 cm scarves, with leopard patterns extracted from archival prints. And then the final looks, we embellished them with clear glass beads that look like drops of water.
How do you feel about the idea that these dresses will soon be in stores all over the world?
I think I might tear up, you know? (laughs) Really, there is so much work behind it, not only mine but all the people who have been working with me to make this dream come true. The collection is kind of our first child, and this teamwork makes me feel good—I feel like we are all embarking on a great journey and it’s nice not to be alone anymore.
Listen to Maximilian Davis talk to Vogue on this episode of The Run-Through here.