FALL 2024 READY-TO-WEAR
Fifteen Max Mara Atelier coats were presented in Venice at the modernist Olivetti store, a spare, elegant space overlooking St. Marks Square, designed in 1958 by Italian architect Carlo Scarpa.
It was a fitting frame for the high-end offer, which showcased Max Maras industrial savoir faire augmented by artisanal handmade finishes.
The design team looked at the companys archive, where the first image published in a magazine in 1953 was of a red coatnot the shade of camel that has become the labels signature.
Here, a discreet red detail was introduced as a sort of decorative threada stitching along the lining, a subtle motif inside a pocket, or the M monogram embroidered beneath a collar.
Each coat was designed to appeal to a variety of personal styles and body shapes, and they were all given a French name, to highlight a certaindegageattitude of elegant nonchalance.
Le Trench dHiver was a sartorial trench coat made in rich, soft nappa leather; a redingote in silk cady, LEvase, was gracefully form-fitting; another called Le Monsieur was inspired by the masculine style of the 1950s.
The cocoon, the parka, the cardigan, and the overshirt were also offered in new versions, impeccably cut in lightweight double cashmere, alpaca, reversible shearling, or camel.
The collections piece de resistance was a round-shaped opera coat, crafted in dark green jacquard brocade, with golden threads giving off a subtle luminosityan investment piece with handsome timeless appeal.
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