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Delegating Our Feelings: How Artificial Intelligence Is Shaping The Future Of Art

Rebecca Krizman
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Delegating Our Feelings: How Artificial Intelligence Is Shaping The Future Of Art

Delegating Our Feelings: How Artificial Intelligence Is Shaping The
Future Of Art

The usage of artificial intelligence in humanistic fields has to be one of the most delicate topics, as it leads people to question whether the world is letting a machine take control over those roles which, by name, should be managed by human only. But this discussion becomes more complicated when creative industries are involved as well. Since the debate on the ethicality of art created with AI is already alive, the aim of this piece is to shed some light on the topic and questioning what consequences these changes could have on the fashion sector.

Ai and art: Is history repeating itself or are we just passing the torch?

I have been-and still am- skeptic on the use of AI in creative fields, however i came across some interesting insights that gave me a way to reflect on the topic in a more attentive way. When photography debuted, in 1839 with Louis Daguerre, despite being an astonishing innovation it found a lot of critiques in the art world. Suddenly there was something able to depict the surrounding reality better than painting. Moreover it made representations, specifically portraits, affordable to both the middle and lower classes. As this shift could not be reversed, painters had to re-invent themselves: instead of focusing on an objective reproduction of the world they enhanced brushes, light’s depictions and mostly portraits “fleeting moments”. With all these new techniques in the late 19th, in the city of Paris, Impressionism was born. Its aim was not to compete with photography, but complement it by creating what a photo could not capture.

Another example in the field of arts is the introduction of the “ready-made” of Duchamp which raised lots of doubts as well. The french artist who lived in the 20th century completely changed what the world perceived as art. After realising some of his early works in line with the Cubism movement -for instance “nude descending a star anise No. 2”, 1912- in 1913 he left the public speechless with ”Bicycle Wheel”, a bicycle wheel mounted on a wooden stool. The idea behind ready-made art is very clear: it stands for artworks created by using pre existing objects, repurposed in new contexts. If art could be created by anyone, with any means, how do we understand what is to be considered as such? While still taking into account its structural techniques, the objective of art is to communicate with people. In the form of clear portrayals or more questionable pieces what has always done is make who watches it think. It has opened debates and raised awareness. The fact that under totalitarian regimes artworks- alongside books- are the first to be censored should be taken as further confirmation of the power it holds in people’s critical thinking skills.

Having understood that, i approached the topic of AI and art more openly and decided to dive deeper into the concept. In 2019 a robot with human like appearance, named “Ai-Da” was labelled as the first artistic robot, as with the use of artificial intelligence and human inputs it was able to create works, later considered as artworks. Moreover three years later, in 2022, it addressed the role that technology will hold in the future when it came to the artistic field “the role of technology in creating art will continue to grow as artists find new ways to use technology to express themselves and reflect and explore the relationship between technology, society and culture” it stated when answering some questions asked in the UK parliament. Despite still involving human ideas why does it still feel like a different shift than what the introduction of photography and ready-made were? Granting that it’s impossible to obstacle change, the usage of AI also in this field seems to be the tipping point.

The impact of AI so far

In a study conducted by Micheal Gerlich, professor at the Swiss Business School (SBS) 666 participants, among different age groups and education backgrounds were subjected to attentive interviews with the aim of understanding how AI had impacted their critical thinking abilities. The study proved that among young individuals there is a higher reliance on AI tools and lower critical thinking scores than among the older ones. ( “AI tools in society: impacts on our cognitive offloading and the future of critical thinking” published in January 2025). To date we can access artificial intelligence with any means possible: via ChatGPT, “Ask Meta AI” on Instagram and “AI overview” on Google, but instead of taking advantage of it, our thinking capabilities are worsening. It does not have to be all or nothing, in some fields its use can be very beneficial, but by constantly consulting it, our issues will slowly become its issues, as we won’t be the ones solving them anymore.

Why Art made by AI should not be promoted

I do understand it sounds like an harsh statement and i do not desire to be an advocate for hindering progress. The reflections on the changes in the art world do bring a valid counterpart to the idea of not using artificial intelligence, still i can’t help but keep on standing in my position.

While its objectives in the different centuries may have changed art has always reflected emotions. It could have been through one’s facial expression or through a natural scenario; even during movements such as the Informalism (1943-50) while the works took a completely abstract form, they mirrored something internal to the artist. When it came to photography, the subject chosen were selected because they evoked something in the photographer, the readymade work per se may not be what is to be considered as art, but the reflections around its meaning are what is important. I can understand why incorporating AI in art works can be a way to discuss our current world but having it to do the work takes from art its human nature. Delegating even this form of expression to an emotionless machine feels like giving up on one of the purest means of creations. Rationally the constant search for improvement is likely to create better techniques, portraits or elaborated paintings but despite its superficial perfection, what kind of reflections can originate from something created by a machine?

While it is fascinating to observe the progress it makes and relate its work to our current world situation, because i am well aware of the influence artificial intelligence has on our lives, there is also the risk of creating a future where most of the galleries’ works won’t be human produced.

How this all correlates to the fashion scene

While not being a direct correlation for all, there is a tight relationship between fashion and art. Both of their aims regard communication, expression and displaying the artist’s internal reality. An example could be the last collection of Maria Grazia Chiuri for Dior-the 2026 resort-. Stating “i want to show what i love, what i really love” showcased the emotional influence behind the designs: the details of each creation were chosen in order to reflect the nature of the city of Rome, close to the heart of the designer. Meaning that, either with a brush or a pencil and later a sewing machine- it’s possible to create from emotions. And despite having arleady been used in more marketing orientated spaces, could AI expand further and have a say in the creative process of designs as well? If people were able to accept Ai-Da in the field of arts, would they embrace a human like robot able to do collections by it self? One aspect to be considered is that with the help of AI trend forecasting and product design are definitely faster, which is both a good and a bad outcome: houses and brands would be able to keep up with change and lower the chances of getting out of business, but at the same time there would be an increasing of the issues caused by fast fashion. Moreover giving AI all the power of creation would also erase the history and thought behind one piece of clothing: even if you were to insert the inputs for clothes in the AI machine, to what length are they to be considered as active counterparts in the process or “simple inputs”?

Personally i feel like the over-use of artificial intelligence is giving us the burden of isolation: when we substitute people with AI we give up on connections and the diversity of opinions. Even if with tools such as ChatGPT it is possible to create a discussion by asking it to play the counter part it is not a stimuli strong enough to inspire one’s mind. Its role should be limited to the “tool” part, not being expanded to the point of defining the human purpose to an input. Lots of people have already renounced to their logical thinking skills by delegating the hard tasks to AI and while i do not agree with it i can see the reasoning behind it: hard tasks are not pleasant and seeking comfort instead feels better. But when it comes to art, which is not classified as one of the primary goods needed to survive but is created to satisfy the innate human desire of expression, why do we feel the need to delegate it?

If humans are no longer able to create, should they be considered humans at all?

Zimmermann Resort 2026 Collection

Sarah Mitchell
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Zimmermann Resort 2026 Collection

Zimmermann Resort 2026 Collection

Zimmermann celebrated the opening of its Mykonos store this month alongside the launch of a romantic, fantasy-inspired resort collection. Over the past few weeks, Nicky Zimmermann has been in Mykonos, where from June 16 to 17 she hosted the opening of her namesake label’s boutique, and days later photographed her Twisted Romance resort collection in the island’s picturesque alleyways.

Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann

“It was such a pleasure to connect the launch party with the collection, and there’s always a pirate bar somewhere in Greece,” she said, hinting at the main inspiration behind the collection: blending nostalgia and fantasy into a line full of romantic femininity, striking silhouettes, and maritime touches.

“I remember those pirate movies I used to watch as a little girl. They had the most incredible posters—the handsome pirate and the gorgeous, glamorous, sexy woman who somehow gets caught up in the story,” she said about her inspiration, which included classic pirate films and the novel Treasure Island. “I wanted to create that feeling of nostalgia while bringing in an element that I really identify with: the New Romantics.”

Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann

These references served Zimmermann well, evident in the balance between breezy, cheerful dresses with hand-painted watercolor “treasure map” prints and fitted white dresses with rippling sleeves. Despite the fantastical inspirations, nothing felt overly literal—especially in the fluid striped nautical dresses and slip-style nightgowns; the refined “Pirate Rebellion” military jackets; and ruched corset tops layered over fluttering, frayed blouses.

Courtesy of Zimmermann
Courtesy of Zimmermann
Courtesy of Zimmermann

The Resort offering proved to be a smart blend of the brand’s highly romantic codes with essentials, like structured jeans with buttons, wrap balloon tops in denim, utilitarian drawstring layers, and slouchy boots with buckles.

“There has been a great collaboration between my Paris atelier and the one in Sydney, so I’ve been able to have both teams working closely together. Many of the denim pieces, coats, tailoring, and drill in this collection we’re developing with the Paris team, with our romantic, classic Zimmermann style. It’s a beautiful combination, and personally it’s how I like to dress,” Zimmermann said.

Courtesy of Zimmermann

The designer mentioned that she travels to her new Paris headquarters roughly every seven weeks and has been working with her teams there to keep developing Zimmermann’s jewelry, handbags, and footwear. As seen throughout the resort collection, the accessories continued to amplify the adventurous spirit while adding a sense of grounded modernity.

Marc Jacobs Fall 2025 Collection

Sarah Mitchell
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Marc Jacobs Fall 2025 Collection

Marc Jacobs Fall 2025 Collection

Marc Jacobs transported guests into his dollhouse filled with dreamy Victorian beauties. The fashion crowd returned to the New York Public Library on Monday evening, ahead of the July 4 holiday weekend, to delight in Marc Jacobs’ latest collection of dreamy Victorian beauties.

Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs

As usual, Jacobs’ show notes set the scene for the five-minute fall collection presentation of 19 concise looks, each striking, to the soft melody of “Song for Jesse” by Nick Cave and Warren Ellis. “Beauty,” the notes read. “A quality or combination of qualities that pleases the mind or senses and is often associated with properties such as harmony of form or color, proportion, and authenticity.”

Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs

Reflected in the fall collection—a fabulous continuation of bigger, twisted, doll-like versions of the familiar: a vocabulary he’s been developing boldly in recent years. Jacobs leaned into Victorian shapes blended with a grunge edge, seen in a model’s huge lilac lace blouse paired with extra-large, slouchy cargo pants tied with a giant bow in the back.

Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs

There were bows everywhere, on the backs of almost every look—including stunning sculptural lace dresses in lovely pastel or dark, vampy shades—and on wide-leg trousers, fitted or body-hugging; in the models’ hair; or twisted around a pale pink, layered slip dress that billowed off the body with precision.

Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs
Courtesy Of Marc Jacobs

Jacobs continued his story with tiny floral prints and pastel lace, transforming them into exaggerated Victorian doll silhouettes, some cut closer to the body than in previous seasons before exploding into puffed shoulders and hemlines. Her sculptural blouses were a hit: a wavy floral version worn by Alex Consani; a rounded polka-dot version on model Wali Deutsch; and a sweet yet strong white lace style on Sascha Rajasalu. But truly, all 19 looks were equally impactful. Once again, through fashion, Jacobs transported his guests into a dreamy escape, a fairytale beauty.

Jacquemus Fall 2025 Collection

Sarah Mitchell
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Jacquemus Fall 2025 Collection

Jacquemus Fall 2025 Collection

Born into a farming family, the designer incorporated aprons, petticoats, fichu collars, trousers, and kerchiefs into his fashion universe.

His mood board was dominated by images of people working in fields or selling their harvests by the roadside.

Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus

The show was more autobiographical than usual, true to the designer’s drive for self-betterment and his growing interest in haute couture techniques, but also emotionally charged in the way he wove aprons, petticoats, fichu collars, trousers, and kerchiefs into his fashion vocabulary. He titled the collection “Le Paysan” (The Peasant).

Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus

Famous for staging evocative shows among lavender fields, salt flats, or stately homes, Jacquemus returned to the Palace of Versailles, this time in its Orangerie, preserved in a raw, cavernous state, with a single row of wooden chairs offering views of the potted trees outside through open windows. He opened the show with a small blond girl running across the runway to open a tall door so models could enter from the gardens—a childhood dream come true.

Courtesy of Jacquemus
Courtesy of Jacquemus
Courtesy of Jacquemus

On the catwalk, his countryside-to-runway narrative came alive through an abundance of sack dresses and smock blouses, some dramatically oversized, and wide, sweeping skirts worn like aprons, with fabric piled into dense pleats at the front. He also presented simpler slip dresses with the same apron-like effect, pared down beautifully in cream and black.

Courtesy of Jacquemus

He worked plain fabrics like cotton poplin and linen into striking geometric volumes—some tiered dresses evoked Christmas trees—and a leather jacket was shaped like a calisson, the French confection made from almonds and candied fruit. He didn’t entirely abandon the summer sensuality that has made the brand so beloved. There were sheer chiffon dresses with batwing sleeves and embroidered tulle halterneck styles that draped fluidly over the body.

Rick Owens Opens an OnlyFans Account Dedicated to His Feet

Sarah Mitchell
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Rick Owens Opens an OnlyFans Account Dedicated to His Feet

Rick Owens Opens an OnlyFans Account Dedicated to His Feet

“I thought it was an interesting way to approach aging,” said the designer, noting that he was inspired by an 18th-century aristocrat who “reduced her life to photographing her feet.”

As he himself admitted, Rick Owens said, “I will keep transgressing until the day I die, because that is my protest,” he declared to WWD. “It’s a response to the moralism and prudish judgment I see in the world. It’s my way of saying, ‘Relax, don’t take everything so seriously.’ A bit of perverse fun is chic.”

The designer made this statement during an interview about his retrospective exhibition, which opened Thursday at the Palais Galliera fashion museum in Paris.

He also casually mentioned that he would be launching an OnlyFans account dedicated to his feet.

He said he was inspired by the Countess of Castiglione, an 18th-century Italian aristocrat who commissioned hundreds of photos of herself until her later years, when she locked herself away in an apartment without mirrors and “reduced her life to photographing her feet.”

“I thought it was an interesting way to approach aging,” Owens said about the countess, who, incidentally, was the subject of an exhibition at the Metropolitan Museum of Art in 2000, which included a terracotta cast of her photogenic limbs.

The 63-year-old designer admitted that some of his colleagues were concerned about him joining OnlyFans, since most of the platform’s content is adult-oriented.

His response?

“I started my career with a photo of me peeing into my own mouth,” he said matter-of-factly, referring to a 2002 photomontage included in the exhibition catalog, along with other images not safe for work. “I mean, this is the most innocent thing I’ve done in my life.”

Ami Paris Spring 2026 Collection

Sarah Mitchell
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Ami Paris Spring 2026 Collection

Ami Paris Spring 2026 Collection

Raindrops added an extra dose of reality to Alexandre Mattiussi’s effortlessly layered Parisian silhouettes. While many French brands gravitate toward iconic monuments—staging runway shows beneath the Eiffel Tower, inside the imposing dome of the Grand Palais, or right at the Louvre—Mattiussi is more of a neighborhood man.

Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris

That’s why he chose Place des Victoires, just steps from Ami’s headquarters and not far from his flagship in the bustling Marais district (rather than the posh Avenue Montaigne), for his spring show.

“For me, this is one of the most beautiful squares in Paris, and I wanted to celebrate that we’re now a company,” Mattiussi said excitedly at the preview. “We’re a house with lots of people, so I invited all my collaborators to see the show. This is my neighborhood. I know everyone. I wave to everyone from my window.”

On Wednesday evening, models circled the bronze statue of King Louis XIV atop a rearing horse—making one wish people in the neighborhood always looked this good.

Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris

Unexpected and pleasing color combinations have been a recurring theme in this season’s menswear, and Mattiussi excelled here. He mostly worked with classic shades, adding some unconventional greens and yellows, but layered them in a way that conveyed a certain Parisian je ne sais quoi.

The ‘70s spirit running through this season was also present in pointed collars, suede overshirts, tailored coats, and A-line skirts. Generous shapes were a dominant feature—sometimes overly so—with roomy shirtdresses, boxy blazers, and wide bermuda shorts made from familiar fabrics like cotton poplin, linen, and denim.

Courtesy of Ami Paris
Courtesy of Ami Paris
Courtesy of Ami Paris

Storm clouds threatened, but Mattiussi’s mixed-gender cast stayed composed. Those whose outfits included sheer windbreakers casually shrugged them back on as the raindrops began to fall.

The bad weather only reinforced the designer’s belief that his brand reflects real life.

“This isn’t like a fashion show—the reality in-store is different,” he said. “Everything we show here is real. Everything we show here is going to be sold.”

Prada Men’s Spring 2026 Collection

Sarah Mitchell
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Prada Men’s Spring 2026 Collection

Prada Men’s Spring 2026 Collection

“The opposite of aggression, power, and the evil dominating the world today,” said Miuccia Prada about the collection after the show. Miuccia Prada and Raf Simons evoked a utopian scene: a field of fluffy carpets shaped like flowers scattered across the vast concrete floor of Fondazione Prada, with natural light filtering through the space, accompanied by birdsong and the sound of cowbells over the speakers.

Courtesy Of Prada
Courtesy Of Prada
Courtesy Of Prada

Their Spring collection reflected the spirit of Rineke Dijkstra’s striking 1993 portrait of a teenager on a beach in Odessa, Ukraine, wearing a slightly oversized burgundy swimsuit: an image of vulnerability, yet also of dignity and pride.

“We wanted a change of tone,” Prada told a group of journalists after the show. “The opposite of aggression, power, and the evil that dominates the world today. So we tried to bring something genuine and pleasant.” “Something reassuring, positive, and balanced,” Simons added while sipping a small glass of Coca-Cola. “Freedom to express yourself however you want.”

Courtesy Of Prada
Courtesy Of Prada
Courtesy Of Prada

Prada and Simons opened the presentation with a crisp white camp-collar shirt partially tucked into bloomer-style pants, reminiscent of Dijkstra’s swimmer’s saggy briefs, looking like those paper doll clothes fastened with flimsy tabs.

The designers went on to mix, in a seemingly spontaneous way, many of Prada’s familiar staples: ultra-light raincoats, wide-leg trousers, retro tracksuits, leather coats, and shrunken sweaters.

Courtesy Of Prada
Courtesy Of Prada

New proposals included boat-neck sweaters and robes, along with military-style shirts elongated to tunic lengths. Pants were optional for at least a third of the looks.

Straw hats and black dress socks paired with almost everything—mismatched with loafers and two-tone deck shoes—further complicated the styling.

MM6 Maison Margiela Resort 2026 Collection

Sarah Mitchell
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MM6 Maison Margiela Resort 2026 Collection

MM6 Maison Margiela Resort 2026 Collection

The very notion of the “right way” to wear a garment was the central concept developed by the brand’s design studio this season. Good clothes are like classic books: solid references you return to time and time again. At MM6 Maison Margiela, this idea materialized in a library card print, where the borrow stamps matched the dates of the brand’s runway shows.

Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela

Although the design team enjoys offering cleverly revisited wardrobe staples, it’s the plot twists brought by the wearer that intrigue them more than ever. This led to dual-use or multi-purpose designs, conveying the idea that your way is the right way to wear something.

Among the standout pieces were a double-layered A-line skirt that could transform into a cocktail-ready dress by pulling the top layer up to the bust; a slip dress that could be worn as a top by adjusting extra built-in straps at the hem; and garments with integrated opera gloves. These gloves could be worn as belts, but when used traditionally, they transformed the outfit into something more dramatic.

As for menswear, MM6 continued to explore masculine archetypes with a softer, more sensual approach compared to last season’s “Pitti Uomo villains,” thanks to lightweight summer fabrics and relaxed details like rolled-up sleeves.

Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela

Visiting the showroom in person revealed the ingenious details that make a trip to MM6’s collections a true delight: gold braids printed along the neckline of a sweater, invisible buttons allowing a double-pointed shirt to be worn two ways, or shirt-weight denim with a suede-flocked finish cut into boxy shirts and straight-leg jeans, designed to age beautifully with wear and washing.

Accessories—particularly the footwear—did not disappoint. Highlights included a take on the trending “ballet sneaker,” offered for both men and women; sleek leather slip-on sneakers for men; and a new iteration of the brand’s popular Japanese bag, now featuring a removable metal handle for added versatility.

Courtesy of MM6 Maison Margiela
Courtesy of MM6 Maison Margiela

With Resort 2026, MM6 Maison Margiela proves once again that true fashion lies not only in design but in the dialogue between garment and wearer—a sophisticated proposition for women seeking originality, versatility, and pieces that evolve with their personal style.

Thom Browne Resort 2026 Collection

Sarah Mitchell
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Thom Browne Resort 2026 Collection

Thom Browne Resort 2026 Collection

Thom Browne once again emphasized American sportswear through his signature tailoring while celebrating the 10th anniversary of his iconic Hector dog-shaped bag.

Resort 2026 marked a celebratory milestone for Thom Browne: the 10th anniversary of his Hector bag, the canine-shaped accessory Browne introduced in 2016 as an homage to his beloved dachshund of the same name.

Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne

Browne noted that while the original creation of the bag was “kind of a joke” ten years ago, it has since become a novelty and an icon of the brand, sought after season after season. “It’s so personal, it’s fun to experiment with it,” he added.

His Hector creations were a focal point of the collection in handbags, alongside his chic interchangeable Bermuda bags. “Some people don’t know this, but the best thing about this Bermuda bag is that you can invest in it once. Each season, there are covers you can buy to use with that single handle. It’s a simple way to have a ‘new’ bag each season,” he explained.

And while Browne’s dog also appeared in this season’s charming embroideries titled A Day in the Life of Hector, as well as in watercolor prints and toile de Jouy motifs, the overarching message of Browne’s excellent resort collection for both men and women stemmed from once again emphasizing American preppy tailoring — a signature of Browne’s that continues to draw loyal customers.

Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne
Courtesy of Thom Browne

As seen in his most recent pre-collections, his designs offered a youthful, layered spirit that never sacrificed his unmistakable tailoring expertise. For example, corset tops cut in the style of vintage swimsuits (cropped at the waist) paid tribute to the bathing suits Browne remembered girls wearing in his youth. These were crafted in gray suiting fabric with gold tennis embroideries, silk mogador embedded into tweeds, or with silver anchor embroidery — a sweet, subtle nod to Hector’s tin anniversary.

Browne noted that corsets have become increasingly important in his stores, highlighting that he often works with tailoring far beyond his fantastical couture looks or custom ensembles for events like the Met Gala. Maintaining this balance between customer desires and his mix of sportswear and tailoring was key for the resort collection — visible, for instance, in khaki jackets paired with sporty dresses or cricket sweaters layered over tweed tailoring.

The concept extended seamlessly into the menswear offering with technical ripstop jackets, puffer coats, essential sneakers, and three standout Japanese denim styles: a jeans-and-jacket combo with a white cashmere seersucker finish; a pleated skirt paired with a denim jacket; and even a varsity jacket adorned with collection motifs styled like the World of Thom Browne crest.

Ferrari Resort 2026 Collection

Sarah Mitchell
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Ferrari Resort 2026 Collection

Ferrari Resort 2026 Collection

The convergence of engineers, factory workers, and VIP clients at the beating heart of the company inspired Rocco Iannone’s designs and fabric experimentation for Ferrari’s latest resort collection.

At haute couture houses, workshops and petites mains are considered their most precious assets. For an automotive company that only four years ago embarked on the ambitious journey of competing with luxury fashion brands, the absence of these traditional fashion resources contributed to the initial skepticism of the fashion elite. It didn’t matter that the newcomer was none other than Ferrari—a brand that’s built on handling complexity and delivering results at high speed.

Courtesy of Ferrari
Courtesy of Ferrari
Courtesy of Ferrari

But why compete with fashion ateliers when you’re the only one in the industry who can claim to have an officina? The workshop is Ferrari’s true engine room, where the dreams of ambitious youth and the demands of discerning buyers of fast, elegant cars are brought to life.

“This is our chosen place, where things are made and creativity becomes tangible,” said creative director Rocco Iannone. Instead of filling his mood board with cinematic muses, music icons, or fashion references, Iannone relied on archival images of Ferrari’s workshop over the decades. These photos, showing engineers, workers, VIP clients, and elegantly dressed women in furs, offered a snapshot of “our most precious heritage: our community.”

Courtesy of Ferrari

This spirit inspired the wardrobe Iannone designed for the season, reflecting Ferrari’s ongoing pursuit of excellence and craftsmanship—especially through fabric innovation.

The collection revolved around a hybrid of tailoring and workwear, featuring zippered jackets and blousons crafted from coated canvas with an oily finish, acid-washed denim, and cold-dyed nylon that gave a painterly effect to effortlessly chic pieces. Iannone pursued the same artisanal vibe with abstract prints and layered knitwear, seen in double-knit crewnecks and marbled-effect dresses.

Ferrari’s proprietary Q-cycle material, derived from recycled tires, inspired some of the knitwear and tailoring, while recycled leather—reclaimed from car seats—was transformed into small leather goods and decorative elements on garments.

But leather was the undeniable star of the show. Whether grainy, talc-finished, or with a worn-in look, supple nappa leather was folded like origami for sharp cropped jackets, draped into skirts, or sculpted into mini dresses embroidered with Ferrari’s recurring 7×7 check motif, echoing the look of racing jumpsuits.

With Resort 2026, Ferrari continues to build its own lane in luxury fashion, driven by technical mastery, sustainability, and a unique Italian flair rooted in its unmistakable automotive DNA.

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