By T. Jayani, JadeTimes News
The conclusion of the cruise 2025 season marks the end of this year’s major catwalk shows. Over recent weeks, fashion houses like Dior and Louis Vuitton have showcased their collections in stunning locations such as Scotland and Barcelona. On Tuesday evening, Max Mara joined the roster with a show in Venice, Italy.
Venice is a surreal destination, located in a lagoon filled with tourists and brimming with artifice. Street vendors sell subpar pizza and shops advertise Murano glass that’s actually made in China. The sound of roller suitcases echoes on the steps of bridges, while gondolas navigate the waterways below.
Yet, amidst the chaos, one can find tranquility in narrow pathways leading to baroque style trattorias, quiet printshops, and jewelry stores where artisans work on handblown rings. This contrast reveals the true magic of Venice, where the romance of the city, established by 13th century artists and merchants, persists. Venice, a historical hub of finance, is arguably where the modern concept of luxury was born.
Venice epitomizes a duality a mix of contemporary chaos and timeless elegance. Similarly, luxury fashion today straddles two worlds: one filled with logo heavy, overpriced items and another characterized by understated, singular pieces. Max Mara firmly belongs to the latter, avoiding novelty items and maintaining stability with creative director Ian Griffiths, who has led the women’s ready to wear collections for over 30 years. The brand’s loyal global clientele and ownership by the founding Maramotti family since 1951 underscore its commitment to heritage and craftsmanship. Despite its appeal to influencers and a rise in popularity on platforms like TikTok, Max Mara has stayed true to its DNA, focusing on timeless design.
For Tuesday’s show, Max Mara hosted celebrities like Kate Hudson, Kathy and Paris Hilton, Yara Shahidi, and Brie Larson on a covered balcony in the Palazzo Ducale, overlooking the Piazza San Marco and the Grand Canal. Inside the Gothic building, guests were greeted by frescoed ceilings and terrazzo floors. It was the first fashion show ever held in the Doge’s Palace.
Griffiths drew inspiration from Marco Polo’s trading adventures and the cultural exchanges between East and West in Venice. The collection reflected the opulence of Byzantine jacquards and mosaics in a sophisticated manner. Silk shirts and shorts with tassel belts, collared button downs, and tight sweaters were paired with pannier style pants, exuding ease and refinement. A low V neck monastic maxi dress in teddy bear brown echoed contemporary Venetian style. Griffiths also incorporated intarsia knits, velvets, and patterns reminiscent of Fortuny, with several coats designed by fashion coordinator Laura Lusuardi, who has been with Max Mara since the 1960s.
Earlier, a private preview of the new Atelier collection at the Carlo Scarpa designed Olivetti Showroom showcased Lusuardi’s expertise. Dressed impeccably in a grey origami shirt, matching trousers, brown driver shoes, and vintage jewelry, she detailed the intricate designs of each coat, emphasizing timeless design and artisan craft. When outside noise from the bustling piazza disrupted the preview, Lusuardi’s smirk and quick action to close the door emphasized the serene focus on craftsmanship. In the heart of a vibrant, crowded, yet beautiful city, Max Mara's authenticity shines through, reaffirming its status as a true luxury brand.
