Max Mara has taken a unique approach for their resort collection this season, unlike other brands that usually showcase their collections in the French Riviera.
The Italian fashion house, Max Mara, has launched its latest Resort 2024 collection, which blends Italian luxury and craft with Swedish folklore and magic. The collection was presented at Stockholm City Hall’s Blue Hall, a soaring redbrick space that hosts the annual Nobel Prize giving ceremony.
The Max Mara Resort 2024 collection has been inspired by Scandinavian culture, particularly the empowerment of women, and Selma Lagerlöf, the first woman to win a Nobel Prize and an author known for her folkloric literature, has been a key muse for the collection.
The dinner for the Max Mara Resort 2024 collection was held in the impressive Gold Hall, adorned with golden mosaics of Swedish legends and myths. The collection features a blend of Swedish folklore and Italian luxury, with elements such as the Swedish smock transformed into high-end hippie dresses and wildflowers adorning dresses and capes.
The collection has a slight gothic vibe, inspired by the dark themes of Scandinavian folk tales. The models wore black and ivory floral coronets, adding a touch of power to the collection. The collection also includes waistcoats, sleeveless blazers with frayed hems, and contrasting mannish cuffs with chiffon or taffeta shirt dresses. According to creative director Ian Griffiths, Max Mara is not about experimental fashion but rather normal clothes carrying important intellectual ideas. “Max Mara is not about intellectual clothes, but normal clothes carrying important intellectual ideas. I don’t expect the Max Mara woman to wear experimental fashion,” explained Griffiths.
According to Max Mara’s creative director, Ian Griffiths, he enjoyed the floral aspect of the Florence Pugh film but disregarded the darker themes. “I put aside all the sinister, gory bits, but I loved the flowers,” he said. “[That said], there is something a little bit gothic about the collection,”. However, the collection does have a slightly gothic feel, influenced by the sombre nature of Scandinavian folk tales where children undergo gruesome experiences.
The models wore black and ivory floral coronets, which added a sense of power to the collection. Griffiths also incorporated contrasting elements such as minis waistcoats, raw sleeveless blazers with frayed hems, and mannish cuffs with chiffon or taffeta shirt dresses, giving the collection a touch of punk. “They instantly become much more powerful, and less pretty,” Griffiths said. “There is something just a bit moody about the collection, and a tiny allusion to punk, which I think is always a good thing.”
Max Mara’s design and craftsmanship align with the Scandinavian culture of minimalism and substantiality, according to creative director Ian Griffiths. He believes that there will be a renewed interest in Scandinavia’s art, design, culture, and landscapes, as well as its magical folk and fairy tales, allowing Max Mara to explore new territory. “I believe there will be a huge reawakening of interest in Scandinavia and its contribution to art, design, culture, and majestic landscapes. And in their magical folk and fairy talks – Peer Gynt, trolls, giants, and women magicians. So, this culture allows Max Mara to explore some new territory,” stressed Griffiths.
The brand hosted 120 guests in Stockholm, offering tours of art museums, boat trips, and visits to the Vasa Museum, which houses the best-preserved 17th-century ship. The runway show was attended by a star-studded list of celebrities, including Demi Moore, Lily Collins, Amy Adams, and Kathy and Nicky Hilton, who also attended the gala show and dinner.