Revitalising a heritage house such as
Salvatore Ferragamo, which was established in
1927, has brought a unique set of challenges.
“Salvatore was all about innovation and tech-
nology, but after he passed away the focus was
growing the business,” Andrew says. “It became incredibly clas-
sical. The market aged, so I had to rethink how to take those
elements — the incredible codes, an immense archive — and
remake it to feel cool to a younger generation. The fashion had to
work on a 17-year-old, a 70-year-old and everyone in between.”
Andrew’s background as a shoe designer means he takes a
different approach to designing clothes. “The shoe dictates the
proportion of the garment,” he explains. “I think about the design
from toe to head.” At the start of each season, Andrew makes
a pilgrimage to the Ferragamo archives in the centre of Florence,
Italy. There are 15,000 pairs of shoes to rifle through — a photo-
graph doesn’t do it for him as it doesn’t reveal, say, the way a sole is
applied or the texture of embroidery. The shoe lasts of famous
actors from Hollywood’s golden age are stored here: Ferragamo
left his village of Bonito in Italy for the US at 16, setting up shop
on Hollywood Boulevard. “To hold the foot of Marlene Dietrich
or the Duchess of Devonshire is pretty surreal,” Andrew says.
Another deep-dive into the archives revealed a bag that the
designer has reworked to become the Boxyz — a style he bet
would appeal to a cross-generational market. “It has only been on
sale for three weeks, but already our numbers are telling us it has
wide appeal,” he says. Other standout pieces: patchwork boots
constructed from laser-cut pieces of leather painstakingly glued;
a slip-style dress made from nappa leather that becomes an A-line
dress when the belt is untied; and skirts made from panels of
leather and suede in dazzling colours. There’s a distinct ’80s vibe
going on, an era Andrew explains is synonymous with the brand as
that was the decade in which it saw massive growth. “I’m also an
’80s child,” he says. “My mother was an executive at a computer
company and dressed up every day. She was crazy about fashion.
My father was the upholsterer to the Queen. We grew up next to
Windsor Castle. I was raised in an environment where there was
a huge focus on technology on one side and
artisanship on the other. At the time, I didn’t
realise the effect it had on me. It aligns with
Ferragamo’s values: hi-tech meets high craft.”
A final A/W 2019 honourable mention: a
leather jumpsuit inspired by American work-
wear from the ’40s and ’50s. Cinch the waist
so it’s fitted, or leave it loose and oversized. “I
wanted women to be able to shape the garment
to how they wanted it to look,” Andrew
says. “I’m interested in producing
pieces that aren’t trend-driven or that
will only last one season. Treat it well
and it will last generations. That’s what luxury should be.”
As for that logo-emblazoned hoodie? Not so much.“YOU COULD
SAY I’M DOING
THE OPPOSITE
OF WHAT
EVERYONE
ELSE IS DOING.”
All images: Salvatore
Ferragamo A/W 2019.