Art Major

Cruise 2019 is the fulfilment of a decades long dream to design based on his late boss’s private art collection, Max Mara creative director Ian Griffiths tells JACQUIE ANG

- Ian Griffiths

WHILE most brands unveil their Cruise collections via specially shot lookbooks, others spare no expense flying press, VIP clients and prolific guests to far-flung locales for an immersive experience. Last season, Dior decamped to the Californian desert for Maria Grazia Chiuri’s collection that reimagined Georgia O’Keeffe. Two days later, Louis Vuitton headed to Kyoto for Nicolas Ghesquiere’s homage to Kansai Yamamoto.

But after all that globetrotting, fashion headed home this year. Dior stayed put in Paris (though you could have sworn you were in Mexico with the escaramuza riders). Even Chanel, known for extravagant sets that have transplanted places such as ancient Greece, went on a cruise to nowhere by anchoring an enormous ship in the Grand Palais.

For Max Mara’s homecoming, its latest Cruise show in the charming old town of Reggio Emilia is particularly momentous. The Italian fashion house had shown in cities including Tokyo and Shanghai, highlighting the international dimension and global reach of the brand.

“But it seemed like the right moment to turn the spotlight on where we came from, our story, our heritage, our values. Max Mara is unique; we wanted to show that our brand has stayed true to the principles on which it was founded — offering women chic, wearable luxury that empowers them in whatever they do,” creative director Ian Griffiths explains.