Ferragamo Spring 2026 Ad Campaign

First Impressions, Lasting Tensions

Review of Ferragamo Spring 2026 Ad Campaign by Maximilian Davis with Agency Baron & Baron and their Creative Director Jeremy Kaye with Director Antoneta Alamat Kusijanović, and models Christy Turlington, Edoardo Sebastianelli, & Kaplan Hani

Luxury has been flirting with cinema again, though often as aesthetic shorthand rather than structure. For Spring 2026, Ferragamo approaches film differently. La Prima Impressione is conceived in chapters, directed by Antoneta Kusijanović, and anchored by Christy Turlington as matriarch. This opening installment frames the house through family, positioning heritage as something lived inside a room rather than displayed on a pedestal. The campaign begins with an arrival, a new partner entering an Italian villa, and with it, a recalibration of glances, loyalties, and quiet hierarchies. First impressions, after all, tend to linger longer than we admit.

What unfolds is less spectacle and more tension held in gesture. Turlington commands the frame with a kind of composed authority that feels almost architectural, shaping the emotional rhythm of the space. The camera lingers deliberately—on exchanged looks, on pauses that say more than dialogue, on the subtle choreography of proximity and distance. There’s a studied stillness here, one that invites the viewer to lean in rather than be overwhelmed.

The collection integrates into this domestic theater with quiet confidence. The woven Hug bag rests within reach, never forced into focus but always present. The sculptural S-heel mules punctuate the frame with a knowing elegance, while silk prints catch the ambient light as if responding to the room’s shifting emotional temperature. Craft, here, is not announced—it’s absorbed, part of the language rather than the headline. It’s a sophisticated move, and one that aligns seamlessly with Ferragamo’s legacy of understatement.

Maximilian Davis has often spoken of designing for a “family of people,” and this campaign makes that notion literal. Each character feels like an extension of the collection’s emotional vocabulary—restraint, polish, quiet opulence, and a flicker of youthful disruption. The multi-generational casting reinforces this without feeling overly strategic. Instead, it reads as lived-in, as though these relationships existed long before the camera arrived. Ferragamo’s cinematic heritage is present, but not performative; it’s embedded in pacing, in framing, in the decision to let moments breathe.

If there is a tension within the campaign itself, it lies in its restraint. While the narrative elegance is undeniable, there are moments where one wonders if the emotional stakes could be pushed just slightly further. The risk of subtlety is that it can sometimes hover just out of reach, admired more than felt. Yet perhaps that is precisely the point—Ferragamo is not interested in dramatics, but in suggestion.

As a first chapter, La Prima Impressione is more prologue than crescendo. It introduces rather than resolves, setting a tone that favors patience over immediacy. In a landscape driven by instant gratification, this feels almost rebellious. Because in Ferragamo’s world, first impressions are not fleeting—they are the beginning of something far more enduring.