At the point when the phantom of the architectures motivated way to make perfect works of modern fashion.
In Japanese design, modernism is nothing new. In 1960 Yashuri Ishimoto drove that home with his photographs of the Katsura Imperial Villa. Those pared back and strictly ordered perpendicular planes provoked a sensation, attracting comment from Walter Gropius himself -though the Villa was conceived over three centuries before the Bauhaus.
Katsura was presented as a call to synthesize modernity and tradition. Generations of Japanese designers have taken it to heart. The sensitive fusion of the innovative and the familiar, maybe that’s what makes Tokyo, Kyoto and Nagoya such pleasant places to be.
Max Mara’s philosophy lies in the modernist aesthetic too, with a healthy respect for its own history. In architecture -and in the world of coats- so called ‘icons’ are the perfect incarnations of genres which have been honed over the years.
Design that develops this way acquires symbolic currency, lasting value, something you can cleave to in a world awash with stuff.
This season pays homage to the legendary 101801 coat, re-imagined as a blouson, belted redingote and trapeze coat.
But it’s not just about coats. Max Mara applies the architectural approach to a hard-working, multi-tasking wardrobe dedicated to life in the city. The collections’ precise geometry is underlined by wide shoulder straps with stylised D-rings. The silhouette is linear, long and fluid, with flat lace-ups, ankle socks, fine gauge knitted gloves and beanies.
Sinuous volants and godets equate in clothing terms to those well-judged diagonals and curves that the Japanese masters throw into their rectilinear schemes.
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