Max Mara’s latest resort outing borrowed Italy’s cinematic past and casted it in 4K. Under the frescoed ceilings of the Reggia di Caserta—an 18th-century palace so grand it once rivalled Versailles—creative director Ian Griffiths riffed on the country’s celluloid golden age, weaving references to post-war sirens like Silvana Mangano and Sophia Loren into a line-up of camel-hair coats, swingy Bardot skirts and matching co-ords, a wink to Mangano’s rice-field romper in Riso Amaro (1949).
Entitled, Venere Vesuviana, the collection’s colors told a story, paying homage to Max Mara’s signature palette on occasion of its 75th anniversary.
Warm neutrals—camel, ivory, pearl, and black—anchored each look with Max Mara’s signature panache.
These were lifted by romantic bursts of gelato pinks, embossed belts, and soft sequins that seemed to entrap light without overpowering the eye of the viewer.
Texture amped up the decadence—bouclé coats, silk that pooled like liquid daylight, and gossamer fringe that shimmered in the spotlight of every turn.
High-waisted suits, trench dresses, and bias-cut slips referenced silver-screen icons, while knee-skimming jackets, full sleeves, and wrap trenches answered a modest dresser’s brief. Layers did the talking—gauzy bustiers under crisp poplin, whisper-thin belts nipping blazers, and a rakish fedora to finish.
The accessories demanded a personal spotlight with the Whitney bag being the star of the show. The entire collection exuded a 1950s sort of sensibility, with its clean lines and, of course, the polished loafers donned by the models.
There were subtle nods to modesty both on and off the runway. Front-row guests like Gwyneth Paltrow and Alexa Chung embodied pared-back sophistication, opting for covered silhouettes and soft tailoring.
