Staging the cruise show at Royal Palace of Caserta could suggest ball gowns and crinolines, but the lineup designed by creative director Ian Griffith for Max Mara was far from it.
Think more about Silvana Mangano in the 1949 film “Riso Amaro.” [‘yesterday, today, tomorrow’]”Marcello Mastroani and – the iconic actress smoldering in black lingerie on the movie sign.
Certainly, this collection was aimed at the type of free women who were sexy in touch this season, boldly thumping shorts under cropped tops and thigh-high leather boots.
“I think the Italian style that captured everyone’s imagination was more known worldwide than anything else by the film,” Griffith said before the show Tuesday evening.
He argued that actresses such as Mangano and Lauren were globally inspirational and, as was later, contributed to building Italian styles when fashion designers had not yet emerged. “I think we live with that legacy again today.”
Fast forward a few decades, and a group of Modernasters joined the show. From Sharon Stone and Gwynes Paltrow to Joey King, last year I received the film Max Malaface of the Future Awards and Zhu Zhu.
Caserta is located about 20 miles north of Naples, and was built in Europe in the 18th century and the largest complex with UNESCO’s World Heritage Site, the Royal Palace was built by the Bourbon House as the main residence of King of Naples. Naples was important to Griffith, who developed the cruise collection.
“We have turned to the most extreme Italian cities, the most Italian cities, because this collection is about Italian if you want to call it. And in Naples you have found a lot of it, and this spirit and courage.”
“Everyone knows the stories of Naples during and after the war. And if you read “Napolitan” 44″ [by Norman Lewis on the aftermath of World War II]he initially explains his fears in the conditions in which Napolitans live, but ends the book with great praise of their courage and determination and their spirit. And what I wanted to commemorate this collection was this idea of the indomitable Italian spirit. ”
When asked if he was pursuing a romantic idea in Naples, he said, “I deal with romantic ideas in fashion. I’ve had all sorts of conversations about whether fashion is appropriate to portray painful or true and difficult moments, whether it’s a hobby and it should be left to the artist, or about the difference between fashion and art.
“Art is true, fashion is about fantasy. I deal with the ideal version that we imagine to be true, not necessarily because of the nature of fashion, and that’s nothing wrong.
So why not show it in Naples? The designer chose Caserta. “Because it was the most impressive place we’ve seen. We saw the beautiful corners of Naples. Both created great locations for the show, but we wanted to show the biggest and best.
At the same time, the impressive Baroque building of stuccodos and frescoes and its grandeur, in collaboration with the brand’s spirit, contributed to a contrast with modern women inspired by mangano “woman dressed to engage in her everyday life.” Founder Aquil Malamotti famously said he wanted to dress up as “the wife of a local doctor and lawyer” because he knew they were the ones leading global change.
“We started with Ruth Orkin’s 1951 photo of “American Girls in Italy,” and were considered a proud, indifferent woman who was not accompanied on the streets to be worthy of comments,” Griffith said.
The choice of image was a way to say how far I’d come 75 years later. 1951 was also the day Max Mara was founded, and now I feel I can cross the road to get to the restaurant without any hassle,” he said with a smile.
Although feminine and sensual, the collection also had a clear influence from menswear. It started with loafers that models cannot wear. “You can’t see Naples without seeing the dandies and marinellas in Naples. It’s the most perfect example of that.”
Max Mara is a famous Naples-based tie maker, E. In collaboration with Marinella, he created a series of silk pajama suits decorated with the brand’s distinctive motifs. Griffith chose the marinella print, designed in 1951. The pattern appeared in the whimsical under-knee miniskirts of the 50s, long flowing blouses, and aerial blues below the knees.
The marinella motif has been revisited and super-elevated as embroidery and sparkle and sequin patterns in cashmere sweaters and cardigans or refined white blouses. “This is a product that will be in store in November, so it’s something you buy when the holiday season is approaching,” Griffith said.
The pink and blue candy striped shirt is worn under a feathered light and disassembled jacket with a crisp white collar and cuffs, working with Naples tailor Vincenzo Cuomo. “It’s very hot here. The tailors have learned how to take everything out except essential things,” the designer said.
The coat is iconic at Max Mara and they didn’t disappoint this season – belted, shawl collared or rimmed. Signature teddy coats were on display in fun candy pink shades or trimmed as a vest.
The full surcal skirt was worn under a matching strapless bra and capellet. A subtle, neutral colour palette was found, with several prints recreating the rich decorations of the palace in silk shorts and blouses.
In the evening, Griffith paraded his crystal-drilled strapless gowns. After all, he “is an effective way to finish the show and never loses its glow,” he shrugged. Certainly, it was even more powerful in the context of the beautiful location, under the huge safes of the arcade where the show was held, the spectacular fountains and statues in the background.
Griffith is supported by the concept of presenting Max Mara’s customers with clothing that “it has a stronger element of newness than what she normally wears, but she thought she was totally confident in wearing it.”
Speaking of the “bonds of trust” that brands have with their customers, “We sell something to that woman and make a big mistake if she feels she puts on it and is ridiculous. That’s a big responsibility.”
There’s no need to worry. This collection was in perfect sync with what Max Mara had. Stylish and luxurious materials, high quality, understated charm, and Italian Griffith touch embraces the brio.
