Trend Book
FALL / WINTER 2023
Max Mara Fall - Winter 2023
Max Mara Autunno - Inverno 2023
THE CAMELOCRACY
THE CAMELOCRACY
In search of the modern, Max Mara travels back in time to the turbulent, tumultuous eighteenth century. What chatbots do now, coffee houses did then; disseminating news and ideas - real and fake - at lightning speed. Then as now, everyone was trying to make sense of the world, and everyone had an opinion.
In search of the modern, Max Mara travels back in time to the turbulent, tumultuous eighteenth century. What chatbots do now, coffee houses did then; disseminating news and ideas - real and fake - at lightning speed. Then as now, everyone was trying to make sense of the world, and everyone had an opinion.
Émilie du Châtelet; the free spirited Marquise whose philosophical magnum opus set the tone for rational thinking during the Enlightenment. With a wit as sharp as a surgeon s blade, she dissected the issues of the age; the education and social role of women, the afterlife, and human happiness. To be happy, one must rid oneself of prejudice, she wrote.
Max Mara viaggia nel tempo fino al turbolento diciottesimo secolo. Quello che oggi accade online, allora avveniva nei caf : la diffusione di notizie e idee – sia reali che false – alla velocità della luce. Allora come oggi, tutti cercavano di dare un senso al mondo circostante e tutti avevano un opinione.
Émilie du Châtelet, spirito libero che diede il La al pensiero razionale nell epoca dell Illuminismo, con il suo brillante intelletto analizzò le questioni dell epoca: l educazione e il ruolo sociale della donna, l aldilà e la felicità umana. Per essere felici, dobbiamo disfarci dei pregiudizi , scrisse.
Émilie du Châtelet; the free spirited Marquise whose philosophical magnum opus set the tone for rational thinking during the Enlightenment. With a wit as sharp as a surgeon s blade, she dissected the issues of the age; the education and social role of women, the afterlife, and human happiness. To be happy, one must rid oneself of prejudice, she wrote.
Émilie had a lover. The man described as Europe s first truly modern celebrity , the self-styled Voltaire. At a time when philosophy and natural sciences were bound together with a touch of mystic wonder, the pair spent ten years together in scientific experiment and intellectual debate. As a woman she had to shout to be heard but to her it was grist to the mill; she wrote At least, masculine injustice in excluding us from the sciences should serve to keep us from producing bad books.
Émilie had a lover. The man described as Europe s first truly modern celebrity , the self-styled Voltaire. At a time when philosophy and natural sciences were bound together with a touch of mystic wonder, the pair spent ten years together in scientific experiment and intellectual debate. As a woman she had to shout to be heard but to her it was grist to the mill; she wrote At least, masculine injustice in excluding us from the sciences should serve to keep us from producing bad books.
Fashion in the Age of Reason bore the apotropaic traces of a darker time; voluminous drapery, feathers, horsehair, whalebone, ritualistic face paint and towering wigs. Voltaire tells us that Émilie hated superstition and necromancy: in Max Mara s narrative, Émilie spurns the convoluted and restrictive styles of the day. Science raises the curtain on a wardrobe for the now
Émilie aveva un innamorato. L uomo descritto come la prima vera celebrità moderna d Europa : Voltaire. In un epoca in cui filosofia e scienze naturali erano legate dal misticismo, la coppia trascorse insieme dieci anni, tra esperimenti scientifici e dibattiti intellettuali. In quanto donna dovette urlare per essere ascoltata, ma: Almeno, l ingiustizia maschile nell escluderci dalle scienze dovrebbe servire ad impedirci di scrivere pessimi libri .
La moda nell Epoca della Ragione portava le tracce apotropaiche di tempi oscuri: voluminosi drappeggi, piume, crine, crinolina e maestose parrucche. Voltaire ci racconta che Émilie detestava superstizione e necromanzia: nella narrativa di Max Mara, Émilie disdegna lo stile contorto e restrittivo del tempo. La scienza solleva il sipario e rivela un guardaroba per l oggi.
Fashion in the Age of Reason bore the apotropaic traces of a darker time; voluminous drapery, feathers, horsehair, whalebone, ritualistic face paint and towering wigs. Voltaire tells us that Émilie hated superstition and necromancy: in Max Mara s narrative, Émilie spurns the convoluted and restrictive styles of the day. Science raises the curtain on a wardrobe for the now.
The rich brocade fabrics, the side-hoops, bustier and chemises are executed with sharp Newtonian precision and paired with minimalistic turtlenecks and chunky boots. Pannier skirts, above the knee, or ankle length, feature anachronistic drawstrings and sporty pockets. Straight from the future, a fishtail parka in camel colour reverses to an opulent damask. The Watteau back, a characteristic of contemporary court dresses, is grafted onto a military greatcoat and a snappy little cocktail dress.
The rich brocade fabrics, the side-hoops, bustier and chemises are executed with sharp Newtonian precision and paired with minimalistic turtlenecks and chunky boots. Pannier skirts, above the knee, or ankle length, feature anachronistic drawstrings and sporty pockets. Straight from the future, a fishtail parka in camel colour reverses to an opulent damask. The Watteau back, a characteristic of contemporary court dresses, is grafted onto a military greatcoat and a snappy little cocktail dress.
Émilie frequently disguised herself as a man; the only way to get into the male only coffee houses and engage with the top minds of the day. Max Mara is inspired by a cast of costumed characters; the gentleman en d habill with a soft swagger of an overcoat, the neat notary, hair tied with a black ribbon, the debonair officer with a cape or a coat worn rakishly on one shoulder or an imperious duke with a grand cloak worn a la mode.
Ecco tessuti in ricco broccato, panie , corsetti e sottovesti, il tutto confezionato con una spiccata precisione newtoniana e abbinato a lupetti trasparenti e stivali chunky. Su gonne panie , mini oppure maxi, compaiono anacronistiche coulisse e tasche sportive. Direttamente dal futuro, ecco un fi h ail parka in color cammello, dal risvolto in damasco. Il retro Watteau , una caratteristica degli abiti di corte, si ritrova su un soprabito militare e su un cocktail dress.
Émilie spesso si mascherava come un uomo: era l unico modo per accedere ai caf e intrattenersi con le migliori menti dell epoca. Max Mara si ispira a un cast di personaggi in costume: il gentiluomo en d habill che si pavoneggia nel suo soprabito, il notaio impeccabile con i capelli legati da un fiocco nero, l ufficiale disinvolto che indossa una cappa o un cappotto su una spalla sola, o ancora un imperioso duca con il suo grande mantello, portato la mode.
Émilie frequently disguised herself as a man; the only way to get into the male only coffee houses and engage with the top minds of the day. Max Mara is inspired by a cast of costumed characters; the gentleman en d habill with a soft swagger of an overcoat, the neat notary, hair tied with a black ribbon, the debonair officer with a cape or a coat worn rakishly on one shoulder or an imperious duke with a grand cloak worn a la mode.
Voltaire s poetry makes clear that his love for Émilie was more than cerebral, yet he described her as a great man whose only fault was being born a woman. Nearly three hundred years later, her gender is no longer considered to be at odds with her talent. She was one of an army of women whose wit and intellect were instrumental in producing that change. With a collection that mixes reason and order with a dash of romance, Max Mara salutes Madame du Châtelet and women like her; the Camelocracy.
Ha r: Lucas Wi son &
La poesia di Voltaire è prova evidente che il suo amore per Émilie non era solo cerebrale, eppure la descrisse come un grande uomo la cui sola colpa è di essere nato donna . Quasi tre secoli più tardi, il suo essere donna non è più un opposizione al suo talento. Fece parte di un armata di donne la cui arguzia e il cui intelletto contribuirono a questo cambio di visione. Con una collezione che combina ragione e ordine con un pizzico di romanticismo, Max Mara rende omaggio a Madame du Châtelet e alle donne come lei; the Camelocracy.
Lucas Wilson &
da Johnny Dyne l
Max Mara Fall Winter 2023
Photographer: Ethan James Green
Fall-Winter 2023/24 Bare
“BARE”, come suggerisce il titolo, è un mettersi a nudo, il togliere le sovrastrutture per ritornare all’origine delle cose. Rivelarsi mentre ci si copre. Coprirsi e al contempo svelarsi. ”BARE” celebra il richiamo del primordiale, il potere della semplicità brutalista e la sensualità ambigua che si trova in natura, pura e allo stesso tempo selvaggia, equamente carica di fluidi eccessi di un’energia maschile e femminile. L’androginia come la più assoluta espressione di libertà. La collezione Sportmax per l’Autunno-Inverno 2023/24 parte dalla rivisitazione delle opere di artisti e fotografi come Peter Hujar, Robert Mapplethorpe e Nan Goldin, ciascuno a suo modo intento a portare alla luce la bellezza che spesso si cela nell’ombra, in un potente incrocio tra l’arte nella sua forma più alta e la vita ai margini. Ciò che appare attraverso i loro sguardi è l’analoga personificazione del paradosso insito nel mettere a nudo la propria pelle così come la propria anima, un infinito calpestare quella linea sottile tra intimità ed esposizione, glamour e decadenza, vulnerabilità e corazza. Peter Hujar una volta ha detto: «Fotografo chi si spinge agli estremi. Ecco cosa interessa a me, la gente che si aggrappa alla libertà di essere se stessa». In questo contesto, “BARE”, è più di una parola che descrive la nudità o il puro stato delle cose. È piuttosto il sinonimo della legittimazione della complessità dell’essere e della libertà di poter giocare con i cliché o di rompere gli schemi. Libertà di essere profondi o profondamente superficiali; di attenersi a un percorso singolare, oppure di abbracciare multiple reinvenzioni di sé. Mettersi a nudo vuol dire sentirsi bene nella propria pelle senza riserve.
“The androgynous mind is resonant and porous; that it transmits emotion without impediment; that it is naturally creative, incandescent and undivided” Virginia Woolf, A Room of One’s Own
“The androgynous mind is resonant and porous; that it transmits emotion without impediment; that it is naturally creative, incandescent and undivided”
‘BARE’, as the title suggests, is about stripping back and peeling of, taking us back to the origin of things. Revealing while covering. Covering while revealing. ‘BARE’ celebrates the call of the primordial, the power of brutalist simplicity and the ambiguous sensuality found in nature at once pure and wild, equally charged with fuid excesses of masculine/feminine energy by design. Androgyny as the absolute expression of freedom. The collection’s concept is informed by revisiting the work of artists/photographers such as Peter Hujar, Robert Mappelthorpe and Nan Goldin, similarly devoted to bringing to light the beauty often hidden in the shadows, resulting in a powerful crossroad between high art and marginal life. Those seen through their lenses came to similarly personify the conundrum existing in the act of laying bare one’s skin as well as one’s soul, a permanent walk in the fne line between intimacy and exposure, glamour and decadence, vulnerability and armour. Peter Hujar once said: “I photograph those who push themselves to any extreme. That’s what interests me, and people who cling to the freedom to be themselves”. In this context, ‘BARE’ is more than a word to describe ‘nakedness’ or ‘the pure state of things’, but rather synonymous to legitimising the complexities of being including the free will to enjoy playing out the clichés or breaking the molde; to be superfcially profound or profoundly superfcial; to stick with one singular path or embrace multiple reinventions. No matter what, to lay bare is to be comfortable in one’s skin unreservedly.
L’atto di essere se stessi è di per sé una rivoluzione e ancora più potente è il celebrare la propria pelle. SKIN. ALL SKINS. SKIN AS SECOND SKIN.
Virginia Woolf, A Room of One’s OwnThe act of being oneself is per se a revolution and to celebrate one’s skin even a more powerful one.
‘BARE’, as the title suggests, is about stripping back and peeling off, taking us back to the origin of things. Revealing while covering. Covering while revealing. ‘BARE’ celebrates the call of the primordial, the power of brutalist simplicity and the ambiguous sensuality found in nature at once pure and wild, equally charged with fluid excesses of masculine/feminine energy by design. Androgyny as the absolute expression of freedom. The collection’s concept is informed by revisiting the work of artists/photographers such as Peter Hujar, Robert Mappelthorpe and Nan Goldin, similarly devoted to bringing to light the beauty often hidden in the shadows, resulting in a powerful crossroad between high art and marginal life. Those seen through their lenses came to similarly personify the conundrum existing in the act of laying bare one’s skin as well as one’s soul, a permanent walk in the fine line between intimacy and exposure, glamour and decadence, vulnerability and armour. Peter Hujar once said: “I photograph those who push themselves to any extreme. That’s what interests me, and people who cling to the freedom to be themselves”. In this context, ‘BARE’ is more than a word to describe ‘nakedness’ or ‘the pure state of things’, but rather synonymous to legitimising the complexities of being including the free will to enjoy playing out the clichés or breaking the molde; to be superficially profound or profoundly superficial; to stick with one singular path or embrace multiple reinventions. No matter what, to lay bare is to be comfortable in one’s skin unreservedly.
‘BARE’, as the title suggests, is about stripping back and peeling of, taking us back to the origin of things. Revealing while covering. Covering while revealing. ‘BARE’ celebrates the call of the primordial, the power of brutalist simplicity and the ambiguous sensuality found in nature at once pure and wild, equally charged with fuid excesses of masculine/feminine energy by design. Androgyny as the absolute expression of freedom. The collection’s concept is informed by revisiting the work of artists/photographers such as Peter Hujar, Robert Mappelthorpe and Nan Goldin, similarly devoted to bringing to light the beauty often hidden in the shadows, resulting in a powerful crossroad between high art and marginal life. Those seen through their lenses came to similarly personify the conundrum existing in the act of laying bare one’s skin as well as one’s soul, a permanent walk in the fne line between intimacy and exposure, glamour and decadence, vulnerability and armour. Peter Hujar once said: “I photograph those who push themselves to any extreme. That’s what interests me, and people who cling to the freedom to be themselves”. In this context, ‘BARE’ is more than a word to describe ‘nakedness’ or ‘the pure state of things’, but rather synonymous to legitimising the complexities of being including the free will to enjoy playing out the clichés or breaking the molde; to be superfcially profound or profoundly superfcial; to stick with one singular path or embrace multiple reinventions. No matter what, to lay bare is to be comfortable in one’s skin unreservedly. The act of being oneself is per se a revolution and to celebrate one’s skin even a more powerful one.
SKIN. ALL SKINS. SKIN AS SECOND SKIN.
The act of being oneself is per se a revolution and to celebrate one’s skin even a more powerful one. SKIN. ALL SKINS. SKIN AS SECOND SKIN.
SKIN. ALL SKINS. SKIN AS SECOND SKIN.
La collezione è un gioco continuo di contrasti tra eleganza borghese, primitive chic e glam androgyny. Ci sono la sartorialità di completi con le spalle definite e i pantaloni a gamba larga, a metà tra zoot suit e teddy boys. Lo stile essenziale e senza tempo degli abiti anni ‘90 conquista la scena con gonne dritte al ginocchio, audaci layering e silhouette lucide e trasparenti che abbracciano il corpo mentre si avvolgono e girano intorno. I colori spaziano dai toni neutri della pelle, dei beige e dei cammello, ai marroni della cannella, del caramello, dello zenzero, completati da un delicato color pesca e da un black intenso.
The collection gives way to a continuous game of contrasts between bourgeois elegance, primitive chic and glam androgyny. Sartorial tailoring is defned by bold shoulders and wide-leg trousers, a look inspired by both zoot suits and teddy boys. The essential timelessness of 90s dresses come to the fore through straight, knee-length skirts and bold layering that enlivens silhouettes that are sheer, and transparent, enveloping the body as it twists and turns. Colors run the gamut, from neutral skin tones, beiges and camels to browns that come to life in hues of cinnamon, caramel, ginger, all of them complemented by delicate peach and punctuated with absolute black. Accessories come to life through an unexpected mix of metal and botanical accents.
Gli accessori prendono vita dall’incontro inaspettato di dettagli metallici ed elementi botanici.
L’ambientazione della sfilata è una potente immersione nell’intimità di un garage arredato con divani délabré e accompagnata dalla composizione musicale “Stelle Disorientate” di Teho Teardo.
The collection gives way to a continuous game of contrasts between bourgeois elegance, primitive chic and glam androgyny. Sartorial tailoring is defined by bold shoulders and wide-leg trousers, a look inspired by both zoot suits and teddy boys.
The essential timelessness of 90s dresses come to the fore through straight, knee-length skirts and bold layering that enlivens silhouettes that are sheer, and transparent, enveloping the body as it twists and turns. Colors run the gamut, from neutral skin tones, beiges and camels to browns that come to life in hues of cinnamon, caramel, ginger, all of them complemented by delicate peach and punctuated with absolute black. Accessories come to life through an unexpected mix of metal and botanical accents.
The collection gives way to a continuous game of contrasts between bourgeois elegance, primitive chic and glam androgyny. Sartorial tailoring is defned by bold shoulders and wide-leg trousers, a look inspired by both zoot suits and teddy boys. The essential timelessness of 90s dresses come to the fore through straight, knee-length skirts and bold layering that enlivens silhouettes that are sheer, and transparent, enveloping the body as it twists and turns. Colors run the gamut, from neutral skin tones, beiges and camels to browns that come to life in hues of cinnamon, caramel, ginger, all of them complemented by delicate peach and punctuated with absolute black. Accessories come to life through an unexpected mix of metal and
The runway show unfolds in the curated intimacy of a grunge garage, furnished with tattered sofas and accompanied by the musical composition ‘Stelle Disorientate’ by Teho Teardo.
The runway show unfolds in the curated intimacy of a grunge garage, furnished with tattered sofas and accompanied by the musical composition ‘Stelle Disorientate’ by Teho Teardo.
“BARE”, come suggerisce il titolo, è un mettersi a nudo, il togliere le sovrastrutture per ritornare all’origine delle cose. Rivelarsi mentre ci si copre. Coprirsi e al contempo svelarsi. ”BARE” celebra il richiamo del primordiale, il potere della semplicità brutalista e la sensualità ambigua che si trova in natura, pura e allo stesso tempo selvaggia, equamente carica di fuidi eccessi di un’energia
Photographer: Mario Sorrenti
Ludmilla Bellini
Ludmilla Shearling
Ludmilla Puro Cammello
Ludmilla Puro Cashmere
Ludmilla Pure Cashmere
Ludmilla Pure Camel Hair
Manuela Pelle
Manuela Cashmere
Manuela cappotto a vestaglia
Crombie Robe Manteau Caban Easywear A Clessidra Doppiopetto
Crombie Long coat Pea Coat Easywear Hourglass
Skirt Faux Croco
Con Pietre Decoro
Biker
Trench Faux Croco
Whitney Glam
Chunky Sole
Flat Maschile/Femminile
Damier Heel
Damier Heel Slingback
Belt Bustier
Fibbia
Logo
Minimal
Gold Chain
