Enthusiastic visitors to the hit Lee Miller exhibition at the Musée d’Art Moderne de Paris earlier this year included Ferragamo’s creative director Maximilian Davis, who zeroed in on her years in Egypt: This cued up another strong Milan collection hinged on safari jackets and other desert references.

The collection seduced with its spice-rack colors, body-skimming silhouettes and fabrics that were at turns gossamer, beefy and kinky. (Davis explained that his translucent rubber trench coats, tank dresses and skirt suits were references to nurses, since uniforms and workwear adopted by women in the early decades of the 20th century remain a key narrative of his tenure.)

Indeed, the collection felt very Ferragamo with its preponderance of statement leather belts — positioned on raised waists and occasionally bosoms — and signature Gancini clasp closures on meaty leather jackets and vests. Shoes included new variations on the F wedge, first pioneered by founder Salvatore Ferragamo in 1947, and a new interpretation of the Vara pump.

But you could also read the show as a sly audition for Saint Laurent in Paris, which is said to be mulling a creative change, despite the largely acclaimed, decade-long tenure of Anthony Vaccarello.

The sleeveless safari shirts and pencil skirts, loosely laced at the sides, were somewhat reminiscent of Tom Ford’s time at the house Yves built, though it was the ’40s that Davis explored, felt in the opening look — a strong-shouldered coatdress — and in the high-waisted tailoring.

Davis designs with a light hand and a strong sense of fabric, creating drama with scarf-like drapes tossed tightly over the shoulder, or a swag of sheer silk lapping at the legs.

His sleeveless leather safari vests and pencil skirts were superb, and the menswear held up to the womenswear, with swagger and chic to spare.

The designer has already passed his sixth anniversary at the Florentine house, and he’s really come into his own.