After several years of experimentation, research, and development by Rocco Iannone, Ferrari’s fashion offshoot is gradually creeping up the luxury grid. It has achieved this by charting its own course instead of attempting to ape those of its more established fashion competitors.
In Ferrari’s Milan showroom this week Iannone emphatically agreed that his fix on this brand’s fashion customer has taken a while to come into focus. Following several seasons of apparently producing luxury fashion despite Ferrari’s pre-existing identity, Iannone is now shaping his design because of it. Considering that this identity adds up to an annual revenue of $7 billion-ish, and has won Ferrari its position as Interbrand’s fastest growing company in 2024, that’s some meaningful momentum to exploit.
This collection exemplified how the existential questions presented when it first launched in 2021—Who is this for? What does it mean?—have to a large extent been resolved by focusing on Ferrari’s pre-existing clientele. In 2025, Iannone disclosed, his fashion-focused Ferrari garage will concentrate on presenting three phases of this collection around Ferrari events—cavalcades and F1 shindigs—in Monaco, Silverstone, and Austin. There will also be new flagship store openings on Mercer Street in New York and Old Bond Street in London. At a pop-up store event in Las Vegas over three days recently, he added: “we saw crazy numbers, it was really nice.”
Like the core Ferrari products, Iannone’s collection is speedy, sexy, punchy, and a little brash. Each phase of this collection broadly reflects the circuit locations where they will be launched. Uptown oversized tailoring in pink or teal taffeta, some cool pleated leather swing skirts, and some technically impressive polo shirts and t-shirts in flocked pique jersey were amongst the Monaco highlights. Iannone transitioned into mod for Silverstone via some handsome checked outerwear, now a top-three selling category for the collection. The other two were represented via knits blended with proprietary Q-Cycle yarn from recycled tyres, and a ballsy leather jumpsuit that Iannone’s moodboard suggested was Bowie inspired by also recalled stand-up era Eddie Murphy. The Austin section included some very racy pieces in corduroy-resembling flocked chiffon that were totally Alexis Colby. The bags, now much less literally car-silhouette related, looked like lustrous luxury Ferrari-merch grails. There were some interesting Ferrari branded scrunchy driving shoe-ballet flat hybrids and a collection-wide emphasis on glossy nappa driving gloves, which represent the crucial point of intersection between the Ferrari driver and the Ferrari.
Currently, Iannone disclosed, around 50% of sales are to owners of Ferrari cars, while the other half is presumably purchased by those who would surely like to have one (or who are regular passengers). He added: “Today everyone can create beautiful collections. But if you don’t create a meaning around the collection and connect with your community to share the sense of that meaning then you can have designed the most beautiful collection ever but it won’t work.” Ferrari doesn’t make mainstream luxury cars, so neither should it make mainstream luxury fashion; and with more of Iannone’s ongoing tinkering and fine-tuning you can see its globally known but highly-specific brand of cachet continuing to accelerate.
