Polo Ralph Lauren Polo-Pony-motif jacket Highlights navy blue recycled nylon quilted padded design signature Polo Pony embroidered at the chest detachable drawstring hood stand-up collar long sleeves with elasticated cuffs front two-way zip fastening two side zip-fastening pockets straight hem partial lining Composition Outer: Recycled Nylon Lining: Recycled Nylon, Recycled Polyester The composition information is subject to the actual product. The product composition details of the spliced material will be split and displayed. Washing instructions Machine Wash The washing method is subject to the commercial washing standard Wearing The model is 1.76 m wearing size S Product IDs FARFETCH ID: 24179401 Brand style ID: 211958932

Ferragamo Fall 2025: If You Like Pina Collages

Antonio Melani Brianna Ribbed Knit Coordinating Sweater

Since the off-duty model look has gone the way of skinny jeans, how about the off-duty Pina Bausch dancer? Models dressed in handsome wool overcoats and nightgown-like silk gowns tread a runway carpeted in red rose petals, their bare feet slid into furry flip-flops at the Ferragamo show, which saw creative director Maximilian Davis continuing to explore the world of dance. (Last season was ballet.) The late German choreographer had no specific connection to Ferragamo, but her troupe’s style signatures – long, stick-straight hair, handsome coats and long, silky dresses – resonate still, and continue to inspire fashion designers. Davis zeroed in on the presence of flowers in her work – a mountain of red roses for “Der Fensterputzer;” a sea of pink carnations for “Nelken” – and scattered petal embroideries on dresses, or agglomerations of them on the ankle straps and toe boxes of mid-heeled shoes. You May Also Like “Ferragamo was very known for using flowers as prints as an embroidery,” he said backstage, noting that a troll through the archive also unearthed a lot of footwear with flower details. This rates as Davis’ smoothest Ferragamo show yet, hardly a barn burner, yet pleasing in its restrained palette of red, camel, white and black, and its devotion to enduring and “normal” clothing archetypes, as Bausch favored. And so there were knit tube dresses, double-breasted topcoats, satin skirts and sheer flapper dresses banded with shearling and lace for modesty. Swooping stoles and scarf-like necklines have been a recurring theme this season, which can probably be traced back to Matthieu Blazy’s hit Bottega Veneta collections. Here, they gave drama to simple gray sweaters and tweed coats. Sometimes sleeves on tailored garments gave the impression of stoles, or stoles with sleeves served as an alternative to a bolero. Capitalizing on the popularity of its Hug bag, Davis transposed its sagging buckle hardware onto leather blousons and suits, and as an offbeat, double-pouch belt bag. He figures Bausch would smile on its utilitarian intention.

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