From Ferraris to Ray-Bans: The brands Miami Vice made iconic
Picture this: two detectives cruising down Ocean Drive in a white Ferrari Testarossa, the Miami sun glinting off Ray-Ban Wayfarers, pastel suit jackets billowing in the wind over loose T-shirts worn without a single sock in sight, synthesizer music pulsing from a state-of-the-art car stereo as neon lights reflect off the hood. This is the indelible image of Miami Vice, the NBC series that ran from 1984 to 1989. It not only entertained millions of viewers but also fundamentally transformed television aesthetics, fashion sensibilities, and consumer culture in ways that continue to resonate decades later. Created by Anthony Yerkovich and produced by Michael Mann, the show followed undercover detectives James “Sonny” Crockett (Don Johnson) and Ricardo “Rico” Tubbs (Philip Michael Thomas) as they navigated Miami’s drug trade and criminal underworld, but the real stars were often the cars they drove, the clothes they wore, and the lifestyle they embodied: a sun-drenched, danger-edged vision of 1980s excess and cool that made viewers want to dress, drive, and live like these fictional cops.
Miami Vice wasn’t just a TV show; it was a cultural phenomenon that single-handedly defined 1980s fashion and lifestyle, turning specific brands into global icons and proving that television could be as visually sophisticated and stylistically influential as cinema or fashion magazines. Executive producer Michael Mann brought a cinematic sensibility to the series, insisting on film-quality production values, hiring cutting-edge directors and cinematographers, and paying obsessive attention to every visual detail from color palettes to costume choices to vehicle selection. The result was a show that looked unlike anything else on television, featuring a pastel and neon color scheme, an emphasis on mood and atmosphere over traditional police procedural plotting, and the integration of contemporary music, making each episode feel like an extended music video for the MTV generation. The show’s influence extended far beyond the screen, affecting everything from men’s fashion to automotive sales to sunglasses trends. This created a feedback loop where the show elevated certain brands to aspirational status, and those brands, in turn, reinforced the show’s cultural cachet.
This article explores the specific brands and products that Miami Vice transformed into cultural icons, examining how a television show about undercover cops became one of the most effective brand-building and trend-setting forces of the 1980s.
Wiki Commons
Ferrari Testarossa
The Ferrari Testarossa became the most iconic vehicle in television history through its association with Miami Vice. The white convertible version driven by Sonny Crockett in later seasons became so synonymous with the show that many people cannot think of one without the other. The Testarossa (Italian for “redhead,” referring to its red valve covers) was Ferrari’s flagship model in the mid-1980s, a twelve-cylinder supercar capable of nearly 180 mph with a distinctive vast body, dramatic side strakes, and pop-up headlights that made it instantly recognizable. With a price tag of approximately $180,000 (equivalent to over $500,000 today), the Testarossa represented the pinnacle of automotive excess and performance, exactly the kind of vehicle that a successful drug dealer or an undercover cop pretending to be one would drive through Miami’s streets. The car’s dramatic appearance (low, wide, aggressive, and unmistakably exotic) made it perfect for television, photographing beautifully against Miami’s pastel architecture and turquoise waters while conveying instant visual information about wealth, speed, and danger.
The show’s use of the Testarossa elevated both the car and the series to new levels of cultural cachet, with Ferrari benefiting from weekly exposure to millions of viewers. At the same time, Miami Vice gained the authenticity and glamour that only a genuine exotic sports car could provide. Interestingly, the show initially used a replica Ferrari built on a Corvette chassis because the production couldn’t afford or obtain a real Ferrari. Still, when Enzo Ferrari saw the fake car on television, he was reportedly so offended by the counterfeit that he provided the production with two genuine Testarossas (one white, one black) to protect his brand’s image. This arrangement, which created one of television’s most famous product placements, demonstrated the show’s cultural influence. This arrangement benefited Ferrari enormously, as the Testarossa became the aspirational vehicle of the decade, with sales and brand prestige soaring as the car became associated with the show’s cool factor. The white Testarossa driven by Crockett became so iconic that it’s now impossible to see one without thinking of Miami Vice. This has permanently linked the vehicle to 1980s culture, making it one of the most valuable product placements in television history.
Wiki Commons
Ferrari Daytona Spyder
The black Ferrari Daytona Spyder used in Miami Vice’s first two seasons has its own legendary story that perfectly encapsulates the show’s relationship with automotive authenticity and dramatic storytelling. The vehicle was actually a replica built on a Corvette C3 platform because genuine Ferrari Daytona Spyders were extremely rare and valuable, with only a handful ever produced by Ferrari as convertible versions of their 365 GTB/4 Daytona coupe. These replicas, built by companies specializing in exotic car recreations, looked convincing on camera and allowed the production to feature what appeared to be a valuable Ferrari without the insurance costs and risk of damaging an actual multi-hundred-thousand-dollar vehicle. For two seasons, this black Daytona Spyder served as Crockett’s signature vehicle, becoming associated with his character and the show’s early aesthetic as he cruised Miami’s streets in what viewers believed was an authentic piece of Italian automotive artistry.
However, Ferrari’s legal team eventually demanded that the fake be removed from the show because it was damaging the brand’s reputation and potentially violating trademark protections. Ferrari took its brand image seriously and didn’t want replicas representing their vehicles on national television. The production’s solution was both practical and dramatically perfect: they destroyed the replica on screen in a spectacular explosion in the Season 3 premiere episode “When Irish Eyes Are Crying,” with Crockett’s beloved car being blown up by criminals as revenge, creating one of the most memorable moments in the series. This fiery destruction not only solved the legal problem but also provided narrative justification for Crockett to upgrade to the genuine white Testarossa that Ferrari had provided. This turned a potential problem into an iconic television moment that fans still discuss decades later. The exploding Daytona became symbolic of the show’s commitment to authenticity and spectacle, demonstrating that even setbacks could be transformed into memorable drama that served both the narrative and the show’s relationship with luxury brands.
Amazon
Giorgio Armani
Giorgio Armani became synonymous with Miami Vice’s revolutionary approach to men’s fashion, with the designer’s unstructured blazers, soft tailoring, and modern silhouettes forming the foundation of the show’s signature look. Armani’s aesthetic was perfect for Miami Vice because it rejected the stiff, formal tailoring that had dominated men’s business and formal wear in favor of a more relaxed, fluid approach that used lightweight fabrics, minimal internal structure, and softer shoulders to create suits and blazers that draped naturally on the body rather than imposing rigid shape. This unstructured approach was revolutionary in the 1980s, when most men’s suits still featured heavy padding, stiff construction, and traditional tailoring that emphasized formality and conformity. Armani’s designs allowed for movement, comfort, and a casual elegance that perfectly suited Miami’s climate and the show’s vision of detectives who needed to blend into a world of wealthy criminals while maintaining enough style to appear successful and threatening.
The show’s costume designer, Jodie Tillen, used Armani pieces extensively throughout the series, often combining Armani blazers in pastel colors (peach, lavender, mint green, white, tan) with simple T-shirts or lightweight shirts, creating the iconic Miami Vice look that blurred boundaries between casual and formal dress. The jackets were worn with sleeves pushed up to the elbows, no ties, and often no socks with the accompanying shoes: a combination that would have seemed impossibly informal by previous standards, but the show made it not just acceptable but the height of contemporary cool. Armani’s fabrics (linen, silk, lightweight wool) were crucial to achieving the look’s distinctive quality, allowing the clothes to move and breathe in ways that heavier traditional tailoring never could. The designer’s neutral and pastel color palettes aligned perfectly with Michael Mann’s vision for the show’s overall aesthetic, creating visual harmony between the costumes and the Miami setting. For Armani, the exposure was invaluable: millions of American men saw his designs every week, associating the brand with sophistication, modernity, and a new kind of masculine elegance that emphasized taste and style without sacrificing toughness or credibility.
Amazon
Versace
Gianni Versace brought bold colors, dramatic patterns, and unabashed luxury to Miami Vice’s wardrobe, complementing Armani’s understated elegance with a more flamboyant approach that pushed masculine fashion toward greater expressiveness and sensuality. While Armani provided the foundation of the Miami Vice look with his soft tailoring and neutral palettes, Versace contributed statement pieces: boldly patterned shirts, richly colored blazers, luxurious silk ties (when ties were worn at all), and accessories that demonstrated a fearless approach to color and design. Versace’s aesthetic was inherently theatrical and glamorous, embracing baroque influences, classical motifs, and vibrant color combinations that other designers might have considered too bold for menswear. This fearlessness aligned perfectly with Miami Vice’s overall vision of pushing boundaries and rejecting conservative fashion norms in favor of something more exciting and visually striking.
The show’s use of Versace pieces helped establish the designer’s reputation in the American market, introducing audiences to a brand that represented a specifically Italian approach to luxury: one that embraced sensuality, theatricality, and visual impact rather than the restraint that characterized much British and American tailoring. Versace’s contributions to the Miami Vice aesthetic included printed silk shirts featuring bold geometric patterns or classical references, leather jackets combining Italian craftsmanship with a rock-and-roll edge, and accessories adding finishing touches of luxury to the overall look. The designer’s use of vibrant colors, rich textures, and eye-catching patterns added visual interest and variety to the show’s costumes, ensuring that Crockett and Tubbs’s wardrobes never became monotonous or predictable. For Versace, the association with Miami Vice helped build American brand awareness during a crucial period of international expansion. It linked the label to contemporary cool and helped establish Gianni Versace as one of the dominant fashion designers of the 1980s before his tragic death in 1997.
Amazon
Ray-Ban Wayfarer
Ray-Ban Wayfarer sunglasses experienced one of the most dramatic brand resurrections in fashion history, almost entirely due to their prominent placement on Miami Vice. They transformed from a nearly discontinued model into one of the best-selling sunglasses designs of all time. The Wayfarer was introduced in 1952 as a bold alternative to the metal-framed aviators that dominated eyewear at the time. It featured thick acetate frames with a distinctive trapezoidal shape, initially considered revolutionary and modern. The style achieved success in the 1950s and 1960s, becoming associated with icons like James Dean and Bob Dylan. However, by the late 1970s and early 1980s, the Wayfarer was considered hopelessly dated, a relic of previous decades that couldn’t compete with the newer, more contemporary styles dominating the market. Sales had plummeted so dramatically that Ray-Ban was seriously considering discontinuing the model entirely, viewing it as a failed product that had lost its cultural relevance.
When Miami Vice premiered, Don Johnson wore Wayfarers in nearly every outdoor scene. The distinctive thick black frames became as much a part of Sonny Crockett’s signature look as his pastel jackets and Ferrari. Suddenly, sunglasses were cool again in ways that exceeded even their 1950s popularity. Sales of Wayfarers increased by over 2,000 percent between 1982 and 1986, a staggering resurrection that marketing experts still cite as one of the most successful product placements in history. Miami Vice is credited as the primary driver of this comeback. The show didn’t just feature the sunglasses; it made them integral to the characters’ identities and the overall aesthetic. The Wayfarers served multiple functions: they were practical for Miami’s bright sunlight, they added mystery by hiding the detectives’ eyes and emotions (crucial for undercover work), they contributed to the “cool” factor that made Crockett and Tubbs aspirational figures, and they reinforced the show’s overall aesthetic of retro-modern style that looked backward to earlier decades while feeling thoroughly contemporary. Ray-Ban recognized the value of this placement and began more actively pursuing product placement opportunities in film and television. Still, the Miami Vice association remained the gold standard, permanently linking the Wayfarer to 1980s cool and ensuring the style’s continued success for decades to come.
Amazon
Ebel watches
Sonny Crockett’s Ebel 1911 BTR watch became one of the most famous timepieces in television history, creating a surge in demand for high-end Swiss watches among American men and establishing Ebel as a brand associated with sophisticated taste and success. The Ebel 1911, named for the year the company was founded, was a luxury chronograph with a distinctive design. It featured a black dial, Roman numerals, and an integrated bracelet that seamlessly blended the watch head with the band in a way that was both sporty and elegant. With a retail price of several thousand dollars in 1980s money (equivalent to significantly more today), the 1911 was serious luxury, the kind of timepiece that only people with substantial disposable income could afford. This made it perfect for Crockett’s character, who, as an undercover detective, needed to project the image of a successful criminal or high-roller to maintain his cover, requiring accessories that signaled real wealth rather than middle-class aspirations.
The watch appeared prominently in countless scenes, with close-ups of Crockett checking the time, allowing viewers to see the distinctive Ebel design and recognize that this was no ordinary timepiece. For Ebel, the exposure was invaluable. The brand was well-regarded in watch enthusiast circles but lacked the mainstream recognition of competitors like Rolex or Omega, making the Miami Vice placement crucial for building broader awareness. The association with the show’s cool factor and Crockett’s character transformed Ebel from a niche luxury brand into an aspirational status symbol for men who wanted to capture some of that Miami Vice sophistication. The placement worked so well because it was thoroughly integrated into the character’s identity rather than feeling like blatant advertising. Crockett’s Ebel was as much a part of who he was as his Ferrari or his Wayfarers, creating an authentic brand association that traditional advertising couldn’t achieve. The success of this placement helped establish watches as crucial accessories in the Miami Vice aesthetic. It contributed to the broader 1980s trend of men investing in luxury timepieces as symbols of success and sophisticated taste.
Amazon
Hugo Boss
Hugo Boss contributed to Miami Vice’s fashion revolution by providing additional wardrobe options that complemented the Armani and Versace pieces while offering their own interpretation of contemporary masculine style. The German fashion house had established itself as a maker of quality men’s suits and business attire, known for precise tailoring, excellent fabrics, and a more structured approach than Armani’s soft tailoring. However, it remained more modern and streamlined than traditional British or American menswear. The boss’s aesthetic emphasized clean lines, impeccable fit, and a certain Germanic precision that appealed to men who wanted contemporary styling without abandoning all traditional tailoring values. The brand’s suits and blazers appeared on Miami Vice as part of the show’s rotation of high-end labels, providing wardrobe variety while maintaining the overall aesthetic of designer quality and modern sophistication.
For Hugo Boss, the association with Miami Vice helped establish the brand in the American market during a period when European designers were gaining influence over American fashion. The show’s endorsement signaled that Boss belonged in the same conversation as Italian luxury brands, helping the company build credibility with American consumers who were becoming increasingly interested in European fashion. The Boss pieces worn on the show typically featured the label’s signature attention to detail and quality construction, with well-cut blazers, trousers, and shirts that demonstrated the brand’s commitment to craftsmanship. While Boss didn’t achieve the same iconic status as Armani or Versace in relation to the show, the brand benefited from being part of the overall Miami Vice fashion phenomenon, riding the wave of increased interest in designer menswear that the show generated and establishing itself as a go-to label for men who wanted to dress with contemporary sophistication.
Amazon
Italian loafers
The Italian leather loafers worn by Crockett and Tubbs became one of Miami Vice’s most controversial and discussed fashion choices, particularly because of the show’s infamous “no socks” rule that scandalized traditionalists while creating a trend that defined 1980s masculine style. High-end Italian shoe brands like Tod’s, Gucci, and various other luxury leather goods makers benefited enormously from the show’s emphasis on quality footwear worn in this unconventional way. The slip-on loafer style was perfect for the Miami Vice aesthetic: elegant enough to work with designer suits, casual enough to feel relaxed and contemporary, and practical for Miami’s warm climate and for scenes that required quick transitions between land and water or between formal and casual settings. These weren’t cheap shoes; they were luxury leather goods that cost hundreds of dollars and represented the same commitment to quality and craftsmanship as the designer clothes worn above them.
The decision to wear these expensive loafers without socks was revolutionary and initially shocking to viewers accustomed to traditional menswear rules, which dictated that socks were mandatory with any closed-toe shoe, especially in professional or formal contexts. The no-socks look served multiple purposes: it emphasized the casual, relaxed quality of the Miami Vice aesthetic, it was practical for hot weather (though whether it was actually comfortable remains debated), it drew attention to the quality of the shoes themselves, and it signaled a willingness to break fashion rules that was central to the show’s overall rebellious sophistication. The trend caught on with shocking speed, as men across America suddenly went sockless in their loafers and boat shoes, creating a phenomenon that both shoe manufacturers and clothing retailers capitalized on while struggling to understand. Italian leather goods makers saw their products featured prominently on the show, often in close-up shots that showcased the craftsmanship and quality of the leather, creating brand awareness and desire that translated directly into sales. The sockless loafer became so associated with 1980s style that it remains one of the most recognized fashion trends of the decade. It was simultaneously celebrated and mocked, yet undeniably influential in changing how men thought about footwear and formal dress conventions.
Wiki Commons
Cellular phones
Early cellular phones, massive brick-like devices that weighed several pounds and cost thousands of dollars, became symbols of cutting-edge technology and professional success primarily through their prominent placement on Miami Vice, where Crockett and Tubbs used them to coordinate operations, call for backup, and maintain their cover as successful criminals who could afford the latest technology. In the mid-1980s, cellular phones were rare and expensive toys of the wealthy and powerful, with the Motorola DynaTAC 8000X (the first commercially available portable cellular phone, approved by the FCC in 1983) retailing for nearly $4,000 (approximately $12,000 in today’s money) with monthly service fees that could run hundreds of dollars for limited minutes and coverage areas. These early phones were comically large by modern standards (nearly a foot long, weighing almost two pounds, with a thick antenna that had to be extended for calls). Still, at the time, they represented the absolute cutting edge of telecommunications technology, science fiction made real.
The show made these bulky devices look sleek and essential by filming them in ways that emphasized their futuristic qualities while downplaying their awkward size and weight. This created an aspirational vision of mobile communication that helped normalize the idea of portable phones and contributed to growing consumer demand, eventually driving prices down and adoption up. Scenes of Crockett talking on a cellular phone while driving the Testarossa, or standing on a beach at sunset while coordinating a drug bust, created powerful associations between the technology and a lifestyle of freedom, power, and constant connectivity. These scenes seem prophetic, given how phones would eventually reshape human behavior and social relationships. The phones served plot purposes (allowing the detectives to communicate in situations where landlines weren’t available) and also reinforced character and theme: these were cutting-edge cops using cutting-edge technology to stay ahead of criminals. The expensive phones were another marker of the undercover lifestyle that required looking wealthy and successful. For cellular phone manufacturers and service providers, the exposure was invaluable in building awareness and desire for a technology that most Americans had never seen or used. It helped create the mass market that would eventually make mobile phones ubiquitous.
Amazon
Premium audio equipment
High-end stereo systems and audio equipment from brands like Bang & Olufsen, Nakamichi, and other audiophile favorites appeared throughout Miami Vice in the detectives’ apartments, homes, and vehicles, contributing to the show’s overall aesthetic of luxury, quality, and sophisticated taste. These weren’t ordinary consumer electronics but premium audio components that cost thousands of dollars and represented serious investment in sound quality: the kind of equipment that audiophiles and wealthy enthusiasts installed in their homes to achieve the best possible music reproduction. Bang & Olufsen, the Danish audio and electronics company known for its combination of cutting-edge technology and striking minimalist design, was particularly well-suited to Miami Vice’s aesthetic, with products that looked like sculptural art objects while delivering exceptional sound quality. The brand’s speakers, turntables, and integrated systems appeared in upscale apartments and homes throughout the series, their distinctive aluminum and glass designs contributing to the overall visual sophistication.
The prominence of premium audio equipment on Miami Vice served multiple purposes beyond mere set decoration. First, it reinforced the characters’ sophistication and taste: these were men who cared about quality, who could distinguish between good and excellent sound reproduction, who invested in their living spaces and personal enjoyment. Second, it was practical for a show that made music integral to its storytelling, with contemporary pop and rock songs used throughout episodes in ways that were revolutionary for dramatic television at the time. Third, it contributed to the aspirational quality that made viewers want to emulate what they saw on screen. If Crockett had a Bang & Olufsen system, then owning premium audio equipment was a mark of success and good taste worth aspiring to. For the audio brands featured, the placement was valuable in reaching audiences who might not have been aware that such premium equipment existed. It introduced the concept of high-end home audio to mainstream viewers who had previously thought of stereos as generic appliances rather than components worthy of significant investment.
Aliaksandr Litviniuk / iStock
Conclusion
Miami Vice was a masterclass in product placement and brand building, elevating high-end brands to mainstream awareness and aspirational status while proving that television could be as visually sophisticated and culturally influential as any other medium. The show’s impact went far beyond traditional advertising because viewers weren’t watching commercials for Ferraris, Armanis, and Ray-Bans. They were watching characters they admired wearing, driving, and using these products as integral elements of a lifestyle that seemed exciting, dangerous, and impossibly cool. This integration of premium brands into narrative television created value for both the show (which gained authenticity from featuring authentic luxury goods) and the brands (which received exposure to millions of viewers in contexts that associated their products with success and sophistication). The Ferrari Testarossa became so associated with Miami Vice that the car’s cultural meaning was forever altered. Ray-Ban Wayfarers were saved from discontinuation and became one of the most successful sunglasses designs in history. Armani and Versace reached American audiences who suddenly understood their brands as representing modern elegance.
The show’s aesthetic continues to be referenced in fashion, film, and television decades after it left the air, proving its enduring legacy as a defining touchstone of 1980s visual culture. Periodic fashion revivals see pastel colors, lightweight suits, and sockless loafers return to runways, always described with references to Miami Vice’s influence. Films and TV shows set in the 1980s invariably draw on Miami Vice’s visual vocabulary. The show influenced video game aesthetics (particularly Grand Theft Auto: Vice City), music videos, and advertising campaigns that continue to mine its imagery. Contemporary television shows from Breaking Bad to Narcos have acknowledged their debt to Miami Vice’s innovations in television aesthetics.
Related:
Like MediaFeed’s content? Be sure to follow us.
This article was syndicated by MediaFeed.org.
AlertMe
