Rocco Iannone arrived at his tenth show with a specific focus on the tactile nature of our existence. Outside the venue, Thai idol Keng Harit’s arrival in a sleek Ferrari sparked a frenzy among the waiting crowd. The energy outside was high, but inside, the atmosphere shifted toward a quiet, focused exploration of eroticism and the physical body. Throughout his tenure, Iannone has moved away from simple automotive branding to develop a sophisticated design language that appeals to men and women who appreciate technical mastery.
| 📌 Key Facts |
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| 🏎️ Rocco Iannone’s 10th collection for Ferrari 🧵 Focus on nude leather and tactile textiles 🌊 Runway staged around an oval reflective pool 🎭 Ballet costume influence on movement and draping 🎨 Scarification-inspired and hand-painted fabrics 👗 Crystal-embroidered evening gowns in the finale ⭐ Alicia Keys and Becky G attended the show |
The presentation took place around an oval pool where water dripped from above, creating a somber, reflective mood. This setting served as the backdrop for a collection that prioritized the sensation of touch. Iannone recently expanded his creative reach by designing costumes for a ballet, an experience that has clearly influenced his understanding of how garments interact with a body in motion. He spoke of skin as a vital membrane that connects us to the physical world, a connection that is often lost in the digital age dominated by screens.
The opening looks featured leather in pale, nude tones. These pieces, ranging from structured suits to wrapped column dresses, had a suppleness that made them seem like a second skin. Occasionally, a flash of the signature house red appeared in the linings – a subtle nod to the brand’s heritage without relying on loud logos. The designer used materials such as ribbed silk jersey and ivory duchesse to create shapes that swirled diagonally around the torso. The garments were manually draped on models to accentuate their natural forms rather than constrict them.
As the show progressed, the silhouettes shifted from delicate, creamy layers to sturdier, protective ones. Oversized leather outerwear featured a textured, gnarled finish reminiscent of tortoiseshell. Darker hues, such as moss green, deep brown, and black, dominated this portion of the runway. Iannone showcased his technical ambition through knits adorned with hand-painted quills and fabrics that imitated scarification. The interplay of solid surfaces and voids added three-dimensional depth to the clothing, inviting closer inspection of the craftsmanship.
Tailoring remained a core element of the collection, though it appeared deconstructed and softened. Some denim pieces had an almost rusty finish, providing a rugged contrast to the polished silk garments. The research into textiles was evident in every garment. For instance, a striking dress featured alternating red and black brushstrokes that seemed to float through a delicate veil of fabric. This level of detail suggests that, to Iannone, luxury is synonymous with constant experimentation and the refinement of traditional techniques.
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The finale featured a series of evening gowns that signaled Ferrari’s growing presence in the lifestyle and entertainment sectors. Alicia Keys and Becky G sat in the front row and witnessed a trio of crystal-embroidered gowns and looks featuring chiffon lined with silk fringing resembling hair. These ambitious pieces indicated a brand comfortable navigating the space between high-performance engineering and high-fashion elegance.
