Skin, Second Skin, 1000 Skins
Ferrari, 2026
For this runway show, the set is conceived as an extension of the body. The architecture reflects the collection’s focus on skin, understood not as a fixed surface but as something that can shift, adapt, and transform.
The space is defined by upholstered walls recalling capitoné, with an intentionally irregular geometry. Surfaces appear stretched and compressed, closer to the condition of real skin than to a finished interior. The padding introduces tactility, while the asymmetry creates a balance between protection and exposure.
The colour palette spans a range of skin tones, moving across different complexions rather than defining a single neutral. This reinforces the idea of plurality and avoids a fixed or idealised reference.
Lighting is direct and cold, similar to a clinical environment. It highlights material, texture, and construction with precision, placing the focus on bodies and garments without theatrical effects.
At the centre, a pool of pink-toned water acts as a focal point, reflecting and slightly altering the perception of the space. Water also falls from above, gradually shifting from a controlled drip to rain. This introduces a sense of change over time, moving the environment from stable to more unpredictable conditions.
A reference can be traced to the work of David Cronenberg, where the body is understood as something in continuous transformation. Here, the idea of skin is not about a single layer, but about the possibility of change. Garments, bodies, and space are all part of this condition, where transformation is gradual and ongoing rather than fixed.
