The Art of Holding On
Review of Ferragamo Holiday 2026 Ad Campaign by Director Clara Cullen and Photographer Ilya Lipkin with models Kris Jenner, Paloma Elsesser, Sage Elsesser, Nancy Banks, Benny Buckley, Bar Italia, Ch’lita, Sofia Testino and Syko, The Womack Sisters, Joan Chen, and Audrey Hui
For its Holiday 2026 campaign, Ferragamo makes a compelling case for love as the ultimate luxury. Titled “The Joy of Loving,” the campaign brings together an eclectic cast of real families, friends, and loved ones in a celebration of the relationships that give life its meaning. Photographed by Ilya Lipkin, directed by Clara Cullen, and styled by Miyako Bellizzi under the creative direction of Maximilian Davis, the project draws on the house’s own familial history, from Salvatore Ferragamo’s founding vision to the generations that have sustained his legacy. With Kris Jenner cast as an unlikely director of ceremonies, the result is a holiday campaign that trades seasonal spectacle for something considerably more enduring: human connection.
The campaign unfolds through a series of intimate portraits and documentary-style films, with Jenner presiding over the proceedings as a knowing, occasionally theatrical guide. Her opening monologue, a reflection on the fleeting nature of time and the importance of cherishing those closest to us, establishes the emotional framework before a succession of screen tests introduces the ensemble. Among them are Paloma Elsesser and her brother Sage, Joan Chen and her daughter Audrey Hui, The Womack Sisters, and the members of Bar Italia, alongside other familial and creative pairings. The casting is particularly effective in its expansive definition of family, encompassing siblings, parents and children, romantic partners, friendships, and even the four-legged companionship of Sofia Testino and her dog Syko. Rather than imposing a singular vision of affection, Ferragamo allows each relationship to speak in its own language.
Visually, the campaign embraces a disarming simplicity. Against saturated Ferragamo red backdrops and clean white studio settings, its subjects embrace, laugh, lean into one another, and occasionally appear to forget the camera altogether. Lipkin’s photography balances the polish of a luxury portrait with the spontaneity of a family snapshot, capturing gestures that feel more revealing than elaborate poses ever could. The consistent framing and restrained palette lend cohesion to a diverse ensemble, while the warmth of the interactions prevents the repetition from becoming overly formulaic. There is an appealing tension between the immaculate studio environment and the wonderfully imperfect business of being human. The images are carefully composed, certainly, but their greatest strength lies in the moments when that composure gives way to genuine affection.
Fashion, meanwhile, plays a supporting role without disappearing from the conversation. The Hug and Cara bags, alongside satin pumps, Vara ballerinas, and embellished evening footwear, are integrated into the portraits with a light touch. A handbag rests between embracing siblings, another hangs from the shoulder of a laughing friend, and polished shoes punctuate otherwise unguarded moments. Bellizzi’s styling favors an understated elegance that feels consistent with Davis’s vision for the house, allowing rich textures, precise tailoring, and distinctive accessories to register without competing with the emotional narrative. This approach also reinforces the campaign’s central proposition: that Ferragamo’s creations are not merely objects of desire, but possessions that accumulate meaning through the lives of those who wear them, and perhaps eventually pass them on.
The concept itself is familiar territory for holiday advertising, where togetherness and sentimentality are practically seasonal requirements. What distinguishes Ferragamo’s interpretation is the specificity of its casting and the historical resonance of its message. The inclusion of Jenner, whose public identity is inseparable from the family she has helped turn into a cultural institution, introduces a playful layer of self-awareness, while the less predictable pairings bring welcome texture and authenticity. Not every portrait achieves the same emotional immediacy, and the uniform studio treatment occasionally limits the individuality of its subjects. Still, the campaign’s refusal to overcomplicate its premise feels refreshing, particularly in a luxury landscape where elaborate production can sometimes obscure the people and products at its center.
Ultimately, “The Joy of Loving” succeeds by connecting Ferragamo’s heritage to a sentiment that extends well beyond the holiday season. Its celebration of inherited and chosen families mirrors the house’s own continuity across generations, transforming an accessible emotional message into something genuinely relevant to the brand. There is little need for grand gestures when a shared laugh, an affectionate embrace, or a familiar hand on a shoulder can communicate so much. In Ferragamo’s world, the most precious things are not simply those worth having, but those worth holding onto.
Ferragamo Creative Director | Maximilian Davis
Agency | Starkman & Associates
Director | Clara Cullen
Photographer | Ilya Lipkin
Models | Kris Jenner, Paloma Elsesser, Sage Elsesser, Nancy Banks, Benny Buckley, Bar Italia, Ch’lita, Sofia Testino and Syko, The Womack Sisters, Joan Chen, and Audrey Hui
Stylist | Miyako Bellizzi