“We are in the business of fantasies,” Ian Griffiths said as a fantasy before a show, as was done in Max Mara somehow during its 38 years. Speaking in a preview place with the Naple’s Gulf scene, he continued with Mount Vesuvius Buding on the horizon: “We deal in romantic views. So in this collection when we talk about Neples, we talk about a imagination of Naples.
These rhetoric of veteran designers indicated to arrive the fashion explosion, in a collection he deserved Vesuvian Venus. Sophia Loren started in Naples* and Silvana Mangano in Griffiths’ moodboard Bitter riceTwo volcanic voluntary heroes, described by the designer as cinematically operated as the 1950s, emerges as a global fashion tropper of the Italian style.
Participating in the show tonight was Gwneth Paltro, in 1999 in the ’50s’. Talented Mr. Replay Actions in a retrospective example of style. Griffiths said: “Contemporary culture has become quite homogeneous … So everywhere you have to return to your golden age to discover cultural identity.”
Max Mara, established in 1951, was a product of that golden age itself, and tonight was the first chapter of its 75th anniversary ceremony. The show site excluded outside the Naples was the Royal Palace of Caureta: despite the world’s largest royal residence (despite its long expulsion of its original Royals). Griffiths said: “We chose it only because it was the most impressive place we saw. And trust me, we saw many impressive places in and around Naples.”
This fantasy collection in a fictional site was woven from several varieties. Central Short-Shorts Mangano wore in that film on the moodboard. They were used as a point of destiny, which was between Napolitan Telling’s masculine trops (Vinchezo Cumo gave their expertise) as well as a grand 1951-vintage archive pattern. With a grand 1951-vintage archive pattern contributed by Marynela (Men’swear’s most beloved Timekar), which were against a barrage of feminine fashion figure. A teddy coat in Napolitan Gilleto Pink, an Ivory Ribbon Body Set with Sequin, and a black wool work was among the shirts of the shirts that were obliquely provoked by the neckline to south the ice cream from its cone to the south of Max Mara’s specific threshold.
