| Ferragamo’s Holiday 2026 campaign is titled “The Joy of Loving” and features Kris Jenner as an imagined director. The campaign is due to be unveiled on October 22 2026. Clara Cullen directs the films and Ilya Lipkin photographs the project. Six family or close-relationship groupings appear across the campaign. |
Ferragamo is placing family relationships at the center of its Holiday 2026 campaign, using a cast of relatives and close companions rather than building the project around a conventional seasonal setting. With Kris Jenner given the role of director within the story, the Italian house connects its own family history with people whose personal relationships are already visible to the public.
“The Joy of Loving” begins with Jenner addressing the importance of family before introducing the other participants through documentary-style interviews and screen tests. Her presence is an obvious choice. Much of her public career has been connected to the management and visibility of a large multigenerational family, making her role understandable without requiring much explanation.
The wider casting is deliberately varied. Model Paloma Elsesser appears with her brother Sage, while actress and director Joan Chen is joined by her daughter Audrey Hui. Acting coach Nancy Banks appears with her son Benny Buckley. The Womack Sisters participate together, while members of Bar Italia appear alongside model and stylist Ch’lita, the partner of Jezmi Fehmi. Sofia Testino is photographed with her dog Syko.
That range gives Ferragamo room to present family as something broader than a traditional household. Parents and children sit alongside siblings, partners and other forms of companionship. Creative director Maximilian Davis has said the intention was to work with people for whom family carried genuine personal significance rather than simply assembling familiar faces for the camera.
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The idea also has a direct connection to Ferragamo’s history. Founder Salvatore Ferragamo built strong links with Hollywood through his work for film stars, while the company itself remained closely tied to his relatives. After his death in 1960, Wanda Ferragamo helped expand the business while raising their six children: Fiamma, Giovanna, Fulvia, Ferruccio, Massimo and Leonardo.
That history makes the campaign’s interest in generations more relevant than a standard holiday message. Davis has explained that he considers how clothes can move between age groups and how particular pieces might remain in a family over time. The idea of inheritance here is therefore not only emotional. It also relates to the practical life of clothing and accessories.
The visual approach remains controlled. Ilya Lipkin photographs the cast against clean studio settings, including strong red backgrounds and pale interiors. Clara Cullen directs the accompanying films, while Miyako Bellizzi handles the styling. The images focus on direct interaction between the subjects rather than elaborate scenery.
Ferragamo products remain visible without becoming the sole subject. The Hug and Cara bags appear alongside Vara ballerinas and evening shoes. In several images, these pieces sit naturally within embraces or group portraits instead of being isolated for close-up display. This keeps the fashion element present while allowing the people to remain the main point of attention.
There is also a useful restraint in the way the Holiday 2026 campaign approaches sentiment. Family-centered advertising is hardly unusual at this time of year, but Ferragamo avoids relying entirely on idealized scenes. Using real relationships gives the photographs a degree of specificity that carefully cast fictional families would struggle to reproduce.
Kris Jenner provides the campaign with its most recognizable public figure, yet the project does not depend on her alone. Her role establishes the framework before attention moves toward the other participants and their individual connections.
For Ferragamo, “The Joy of Loving” ultimately works as an examination of continuity. It connects the Ferragamo family’s own history with a contemporary cast and presents clothing, bags and shoes as objects that can remain part of people’s lives over many years. The result is a seasonal campaign built less around occasion dressing than around who might share those occasions with you.
