Last season, Maximilian Davis turned to renowned ballet dancers Katherine Dunham and Rudolf Nureyev, exploring Ferragamo’s deep-rooted ties to the world of ballet with Salvatore Ferragamo himself having made custom shoes in the 1980s for the aforementioned prima ballerinas. Continuing his foray into the world of dance, this season Davis placed the work of the German Tanztheater at the centre of his moodboard, having grown out of German Expressionist dance in Weimar Germany and 1920s Vienna, the collection explored the dance company’s liberated choreography from the 1920s and its revival in the 1980s.

Merging two decades heralded as a time of hedonism and excess saw Davis toy with tropes of maximalism, covering his runway in thousands of red rose petals as models walked to a blend of lo-fi techno and dramatic orchestral scores. An exploration in form and fabrication, satin hung languidly to the body as layers were built from transparent organza, and faux fur outerwear drew billowing silhouettes. Dresses were adorned with feathers, tassels and fabric roses, while slips were accented with drop-waists in lace appliqué or collaged with flashes of shearling. Davis’ menswear offering continued to evolve for FW25 with suiting crafted from supple chocolate-hued leather, structured tailoring in grey pinstripe or herringbone and oversized trenches belted tightly at the waist.

Speaking on the collection, Davis said: “The twenties were a moment of freedom, of people rebelling and creating spaces for themselves. The surrealist idea of taking everyday objects and making them feel a little disturbed is something I find very interesting, creating a sense of discomfort in the expected.”