Latest news with #RoccoIannone
Vogue
17 hours ago
- Automotive
- Vogue
Ferrari Resort 2026 Collection
A 1960s photo in Ferrari's Maranello workshop—where Enzo Ferrari founded the famous automotive company in 1947—shows a glamorous lady wearing fur and cat-eye sunglasses observing Ferrari craftsmen at work. During an in-studio preview, creative director Rocco Iannone explained that the image is one of the main focuses of the resort 2026 collection. It's important because it exemplifies the brand's cultural status, a carmaker so well known that 'the word Ferrari itself is commonly used as an absolute comparative,' as Iannone put it. With this in mind, he designed a collection that keeps the workshop at its heart. The opening looks are inspired by engineers working in business- and science-oriented areas, with sartorial looks made of coated denim trench coats and leather separates, often matched with Ferrari-red ties. References to the automotive world are recurring but always subtle, such as the car silhouette evoked through the shape of zips or the shoulders of leather bikers and blousons with integrated spoilers that clearly recall those found on Ferraris. Sometimes, instead, actual car parts become the main materials; as is the case with discarded Ferrari tires that have been transformed into a yarn used for knitwear and iridescent suits—a copyrighted fabric called Q-Cycle—in an innovative approach to circular creativity. In other cases, inspiration comes from pilot gear of the past, like the ample leather cargo pants that recall the 1930s, or the 7x7 check, typical of racing suits, that was reworked on silk shirt dresses, knitwear pieces, and embossed leather garments. Among the accessories, the soft La Ferrari Dino bag stands out; it's a riff on the Dino model, a car named after Enzo's son.
Times
21-05-2025
- Automotive
- Times
Charles Leclerc's new fashion line — including his favourite hoodie
'Fashion has always been one of my passions. I've loved trying to express myself with the way I dress. I've always wanted, at some point in my life, to be involved in a fashion project.' Charles Leclerc, the Monégasque who races for the Ferrari Formula 1 team, is explaining why he is launching a collection of clothes and accessories under the banner of the famous prancing horse. 'Being a Ferrari driver for quite a few years now and seeing Rocco joining the family and opening a whole new part of Ferrari, embracing the lifestyle of it, was super interesting. We had a discussion about a collaboration.' Rocco refers to Rocco Iannone, the creative director of Ferrari, who joined the company in 2019 and is responsible for designing its fashion collections and developing all things non-automotive to do with the brand. • This article contains affiliate links that can earn us revenue 'The whole goal of it was to represent not Charles the driver but Charles the person,' Leclerc explains. In this respect the new collection is less catwalk and more streetwear, less red carpet and more chilling in your crib. Or motorhome. Leclerc is something of a reluctant superstar. Naturally reserved, he is unembarrassed about how much he loves his dachshund, Leo, and confesses to writing songs on a Steinway Model B piano. But fashion design is a passion, and he's been wanting to develop a collection for a while now. It just took Iannone to help make it a reality. 'This wardrobe is the perfect fusion of aesthetics, design and functionality, encapsulating both Charles's unique spirit and the essence of Ferrari,' Iannone says. 'Together we've crafted a sporty, contemporary look.' 'It was all new to me, so it was supercool to see behind the scenes of the fashion world,' Leclerc says. 'It [the collection] takes my feelings as its starting point — the things I feel most comfortable with. What are the colours that define me as a person? For me, it's blue, it's white, it's beige — colours which remind me of the Riviera and Monaco, places that are part of me.' Leclerc was born and bred in Monte Carlo, and the sunny Mediterranean municipality has clearly made its mark on the casual, laid-back style of the driver. 'Then, once you have done this,' he continues, 'it's all about the textiles. We continued the discussion with Rocco to come up with different techniques… like the way we've done the denim, for example.' Denim is key to the collection, and Iannone explains that this is where the two men really connect. In particular he talks of expressing the spirit of the Riviera through a tie-dye treatment applied to the denim that suggests clouds. As well as the denim jeans and jackets there is an entire wardrobe of staples here, drawn from what Leclerc likes to wear — T-shirts and sweatshirts with motifs that reference racing, trousers in cotton with ample pockets, parkas, tops that display the letter L in relief, fashioned from technical yarns, and even styles that mimic driver racing suits. But it is the hoodie that seems to be the favourite of both the F1 pilot and the creative director. Iannone calls it the collection's hero product, and Leclerc says the beige zip-up hoodie best represents his personal style. 'I've always felt particularly comfortable with hoodies, and more so recently,' he explains. The appeal is not just aesthetic. 'F1 is on the global stage and my life has changed a lot from ten years ago when I was just a 'normal' person. The hood is a way for me to hide, to protect myself and be a bit more discreet.' He also likes the colours: 'It's a colour palette I love to wear.' As well as beige, the collection employs navy, light blue and white. All pieces carry the Ferrari x Charles Leclerc label that features the white and red of the flag of Monaco. To complete the offer there are accessories including sunglasses and baseball caps, as well as sneakers and driving gloves. Three handcrafted limited edition travel trunks are also available, in brown leather and with jacquard linings. One is a portable wardrobe to hold clothing, one a case for a crash helmet and a smaller one carries sunglasses and watches. There's also a new version of the Nello, the Ferrari Tool Case bag, in the same leather as the three luggage pieces, which is decorated with metal bolts. Intriguingly, it's not only human customers that the young driver has in his sights. Leo the dachshund has not been forgotten. As well as a Ferrari x Charles Leclerc collar and lead, your pet can have a hoodie like your own from the collection. Now that's what we call a total look. The Ferrari x Charles Leclerc collection is available at at the Ferrari boutiques in Maranello, Milan, Rome and Miami, and at the Ferrari pop-up at the Fairmont hotel in Monte Carlo
Yahoo
03-03-2025
- Entertainment
- Yahoo
The Runway Rundown: Milan Fashion Week Ends On A Sartorial High
After more than a full month of shows, events, celebrity-packed front rows, street style moments, and an over-active rumour mill, you'd be forgiven for suffering from more than just a little Fashion Week fatigue at this point. But the final two days of Milan Fashion Week ensured guests were newly filled with vim, vigour and inspiration aplenty to face the rest of the season ahead. FIND OUT MORE ON ELLE COLLECTIVE Getting the fifth day off to a rip-roaring start was Ferrari, where longtime creative director Rocco Iannone presented a collection that oozed grown-up sophistication. Inspired by the legendary automotive brand's 'Officina' – 'an artisanal workshop, a centre for study, a design lab, and the blueprint to launch a collection into production', as the show notes explained – Iannone played with proportions, materials and contrasts to craft clothes that felt as cutting-edge yet timeless as one of the brand's luxury cars. Think sharp pinstripe tailoring topped with a signature red tie and opulent shearling; luxurious burgundy leather skirts, dresses and jackets covered with fabulous fringing; hand-dyed denim with a trompe l'oeil scrunched effect, and lashings of gold, green and chocolate-brown to boot. But beyond Irina Shayk, Adriana Lima and Amelia Gray Hamlin walking the red-carpeted runway, it was a multi-coloured, hand-dyed and polished leather trench that really felt like the star of the show. Next was Ferragamo, where creative director Maximilian Davis had also set out a red carpet of sorts – but here, it was made up of thousands of red rose petals. The looks that subsequently emerged were worthy of every single one. The British-born designer presented a collection inspired by the German Tanztheater 'and the unbound expression of their liberated choreography', as she show notes explained. Hints of the 1920s and 80s – decades key to the expressionist dance genre – could be spotted throughout, whether in the form of drop-waist, lace-appliqué silken slips, utilitarian leathers and tailoring, dreamlike prints, or the florals taken directly from Ferragamo's iconic Eighties campaigns. Despite his rather lofty reference-points, Davis is a master of crafting collections that feel innately relevant to the modern woman, instantly desirable, and supremely wearable too. It's safe to say that between all the chic skirt-suits, oversize coats, silky minis and new iterations of the cult Hug handbag, guests left with an alarmingly hefty new wish-list. Show-goers seeking sartorial inspiration for the party circuit, meanwhile, were spoilt for choice at Dolce & Gabbana. The brand's AW25 collection was aptly named 'Cool Girls' and featured all the OTT outerwear, off-duty outfits, and sparkly, see-through, sultry separates you could hope for. Lingerie-inspired looks were front and centre, denim was low-slung and bedazzled, oversize menswear-esque pieces styled seamlessly with the ultra-feminine, and the sunglasses were bigger than ever – perfect for the morning after walk of (no) shame. All the while, real-life 'cool girls' including Naomi Campbell, Delilah Belle, Jessie Andrews and Heart Evangelista sat front row, and models emerged onto the streets outside the venue for a DJ set by Måneskin bass player Victoria De Angelis, kicking off Saturday night in style. Show-goers were back bright and early on Sunday morning, however, for Dolce & Gabbana's second spectacle of the season: the Milan debut of emerging designer Susan Fang, that was supported by the Italian luxury brand. The Chinese-born, London-based designer's 'Air•Memory' collection could not have been more markedly different from Milan's usual tendency towards the sophisticated and minimal, or glamorously outré. Fang, who usually shows in London, brought a dream-like, ethereal quality to the final day of Milan Fashion Week with her signature pastel-coloured, light-as-air, ultra-delicate tulle designs. 'The collection pays tribute to my mother, Ai Lan,' she explained to ELLE UK. 'I've incorporated her vibrant paintings—self-taught and full of life—into the collection, transforming them into sequins, embroidery, and denim art, which captures her love of nature and the joy of her memories.' 'Showing in Milan is an incredibly special experience for me, as it's a city that holds deep personal and cultural significance,' continued Fang. 'Milan is a hub for Italian craftsmanship, and the opportunity to present "Air•Memory" there allows me to merge my Chinese heritage with the rich tradition of Italian artistry. It's the perfect place to showcase a collection that blends diverse cultural inspirations.' Incidentally, the final show of Milan Fashion Week's AW25 season was also about returning to one's roots, and taking inspiration from diverse cultural spheres – albeit in a decidedly more classical, Italian luxury way. We're talking about Giorgio Armani, of course, who closed out the week on a high with his glorious 'Roots' collection. The epitome of effortless elegance, models emerged wearing flowing silk trouser suits, impeccably tailored jackets, softest cashmere knits, and shimmering embroidered dresses made for the red carpet. The palette was dominated by neutrals: sandy and golden shades of beige, deep browns, quartz-blue and endless greige, all inspired by 'the volcanic hues and mineral glows of sun-scorched earth, reassuring in its ancestral purity', as the show notes explained. And as ever, the smiles on the models faces were telling of an overall softness and ease in the collection, that even extended to the bags and shoes. As Armani himself put it, these are pieces 'designed for light yet assured steps, communicating an innate sense of confidence.' That's something we can all aspire to. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today Might Also Like Pyjamas You Can Wear All Day 10 Hand Soaps To Make Your Bathroom Feel Like A Fancy Hotel 8 Of The Best Natural Deodorants
New York Times
01-03-2025
- Entertainment
- New York Times
Sometimes, All You Need Is a Wacky Shoe
At the Ferrari fashion show early Saturday morning, I beheld a shoe that would surely make design professors yank their hair out, that broke several codes of good taste at once, that pretty much distracted me from seeing anything else in the show. As I said to a seat mate at the show, it was the most deranged shoe I could recall seeing in … years? I loved it. The toe was chiseled like the schnoz on a proboscis monkey. A belted strap spanned the width of the front, and then the rest of the upper was open in the style of a Venetian slipper. 'Everyone has some fetishism, and shoes for me are beautiful objects of design,' said Rocco Iannone, the designer of the collection, who wore a similarly chisel-toed loafer. With these, beauty, no doubt, will be in the eye of the beholder. But beauty isn't the point. For many seasons now, the most exciting garments and styling for men have felt a little off, a little odd, a little too, too much. Clothes that, outside the safe confines of a runway show, might strike us as peculiar, even ludicrous or laughable. Consider: Moschino, which showed a hat with a giant 'M' protruding from the top like a branded dunce cap. Or the black necktie knotted into an overcoat collar at Emporio Armani that made me wonder if the model had been dressed by Mr. Magoo. Or the way the models at Gucci held the bags not by their straps, but from the top side as if they were nabbing a puppy by the nape — a contrived ploy to distract us from the fact that these were basic duffels we've seen many times. These concepts also reflect how fashion brands now aim less at the masses than at their cult of converts. So often they are speaking a language their most loyal customers grasp (well, hopefully), but is Greek to anyone else. But occasionally you glimpse a new design vocabulary that doesn't make you turn away but instead makes you want to sit up and learn it. Thrilling! That was the case with a Marni show where the creative director Francesco Risso doled out men's clothes direct from 'Pee-wee's Playhouse': pants so expansive across the front that they could accommodate a Subway sandwich and fur collars the size of body pillows. Kooky, yes, but in a way that kind of made you want to be that guy in an overcoat rimmed with a fuzzy collar. Just for a day or two. And it has been the case with Simone Bellotti, who in two brisk years as Bally's creative director has made that Swiss brand's show a bookmark it, underline it, don't miss it event. For now: It's widely rumored that this was Mr. Bellotti's last Bally show. For a guy who took his bow wearing a faded Detroit Tigers ball cap, faded black jeans and a fox-gray sweater, he isn't immune to theatrics. (Realistically, we could all stand to dress a bit more like Mr. Bellotti.) A handful of models in the show had their faces painted silver, and there were some thornier ideas present, including a guy in a corset-curved denim trucker jacket, or another in a three-strap belt, like a luxury interpretation of powerlifting gear. But mostly, what Mr. Bellotti presents are men's clothes that could never be called alien but aren't entirely familiar either. Take the tumbled leather overcoat with the neck hanging down for liberal scarf room, or the swelling, barely-to-the-waist jacket in chartreuse, or the boots with a triangle of studs at the toe. Those were punkish but at a courteous volume. I left the show wishing I already owned one of the suits with squared off, four-button jackets and sloping 'just stuff your hands in' pockets. That, I thought, is how you casual-ify the suit without destroying its integrity. In it, I'd be me. Only, you know, cooler.
