Max Mara's New Short Shorts Collection: A Tribute to Postwar Naples

In a stunning fusion of history and modern fashion, Max Mara unveiled its latest collection, showcasing short shorts inspired by the postwar era of Naples. This collection, revealed during the cruise season show at the opulent Palace of Caserta, draws heavily from Italian cinema, particularly the 1949 classic film 'Riso Amaro' (Bitter Rice), which featured the iconic actress Silvana Mangano. The designer, Ian Griffiths, emphasized the pivotal role of cinema in shaping Italian style. He stated, 'Cinema was the thing that really took Italian style into people’s lives, and where Italian style was effectively invented.' The collection aims to explore the evolving representation of women in fashion and society, juxtaposing glamour with the realities of poverty that characterized Naples in the postwar period.

This creative direction highlights a significant shift for Max Mara, traditionally known for its conservative aesthetic epitomized by its deep-pile camel coats. Griffiths noted, 'I wanted to take this image, and look at how the position of women, real women, had changed.' This perspective is particularly resonant given the historical context of Naples, a city rich in cultural heritage but also marked by economic hardship.

The runway featured not only the provocative short shorts but also Bardot tops, full skirts, and silk scarves, evoking the elegance of Sophia Loren, another emblematic figure of Neapolitan style. Griffiths remarked, 'Think how many women watched her in [1954’s] L’Oro di Napoli (The Gold of Naples), went out and bought a checked tablecloth, Chianti, and a low-cut blouse.' This reference underscores the profound influence of cinema on women’s fashion choices.

However, the collection's presentation did not shy away from addressing the complex social dynamics of Naples. The inclusion of flat tassel brogues as a counterpoint to the glamorous outfits signals a nod to social mobility and the financial barriers many face. Griffiths commented on the delicate balance of glamorizing Naples’s postwar style, stating, 'What should fashion do? We can draw attention to times and places and create an idealized, perfected vision of a reality. Art is about truth, and fashion is about fantasy.' This assertion reflects a broader debate within the fashion industry about cultural appropriation and sensitivity.

Max Mara's recent endeavors also illustrate the brand's strategic marketing approach in a crowded fashion landscape. The cruise show format, which transports influencers and journalists to unique locations, serves as both homage to the locale and a marketing spectacle. Griffiths acknowledged, 'We’re lucky if journalists pick up a press release from a seat,' highlighting the competitive nature of fashion journalism.

The brand, which reported a turnover of £1.6 billion last year, continues to position itself as a leader in ready-to-wear fashion, appealing to a broad demographic while maintaining a commitment to quality and style. Founded in 1951, Max Mara was a pioneer in creating accessible luxury for the middle class, a mission that resonates even today.

As the fashion industry grapples with the implications of its cultural references, Max Mara’s latest collection stands as a testament to the power of storytelling through fashion. By channeling the glamour and struggles of postwar Naples, the brand not only pays tribute to its rich heritage but also engages in a conversation about the evolving role of women in society. This innovative approach could set a precedent for future collections, encouraging designers to explore the intricate narratives behind their inspirations.