Max Mara
At Max Mara, continuity and a deep respect for the brand’s DNA have given the company and its new generation of customers a legacy to believe in.
Historically, tracking down a recording of Max Mara’s spring/summer 1992 show at Milan Fashion Week would have meant making a pilgrimage to the brand’s archival warehouse on the outskirts of Reggio Emilia, a charming town nestled in the heart of the Po River Valley in northern Italy.
It would have meant scouring the three floors of archives: sifting through old show notes, squeezing past revolving rails stuffed with every iteration of the house’s iconic camel coat and side-stepping towers of perfectly folded cashmere turtlenecks and tomes dedicated to the art of tailoring.
Fast forward to today, and the process is infinitely easier, if a little less romantic. Now with a simple Google search and the click of a button, you are presented with Yasmeen and Cindy strutting down the runway in Milan in – albeit grainy – technicolour.
So much of the world has changed thanks to the advent of the internet, but compare the footage with scenes from the house’s most recent runway presentation in Milan in September, and the similarities are striking.
The 1992 runway might have had eager photographers lining the runway trying to snap “The Supers” instead of the wall of iPhones raised in a two-hand formation, and the emphasis on structured tailoring – double-breasted silhouettes and late-stage power suits – has been replaced by softer shapes, sleek darts and origami-like folds. But the sensibility – the unbreakable throughline of both collections – is unmistakably Max Mara.
Staying Consistent in a World of Change
“We live in a constantly changing world, but I think that the importance of a brand and its relevance lies behind its own consistency,” explains Maria Giulia Prezioso Maramotti, board member of Max Mara Fashion Group and granddaughter of the house’s legendary founder, Achille Maramotti.
Having spent much of her childhood with her grandfather, who founded Max Mara in 1951 with a single suit and coat, Maria Giulia grew up immersed in the rhythm of the atelier – sewing machines humming, patterns scattered across the floor and the exhilaration of a new season. It was there that she developed a deep respect for the slow, intentional approach to design that her grandfather championed as he built one of the world’s first luxury ready-to-wear houses.
“For me, the importance of preserving our values in terms of quality, in terms of craftsmanship, is part of what our grandfather has transferred to us and part of the company’s legacy.”
But Maria Giulia shares more with her grandfather than just a surname, a penchant for business and a passion for clothing that empowers its wearer. Like Achille, an avid art collector who amassed a remarkable collection now housed in the Collezione Maramotti (a modern art gallery in Reggio Emilia), Maria Giulia is deeply invested in the arts.
She plays a key role in the Max Mara Art Prize for Women, which supports emerging female artists in the United Kingdom, and is actively involved in the brand’s Women in Film awards, a program dedicated to advancing equal opportunities for women in the film industry. The list of recipients includes notable actors such as Gemma Chan, Zoë Saldana, and, most recently, Joey King.
“When I met Joey, what struck me most was her warmth, her charisma and, above all, her optimism,” says Maria Giulia. “Despite her many achievements, she remains focused on the future, always seeking new ways to evolve and inspire. That’s exactly what Max Mara stands for: women whose strength, creativity, and relentless drive set them apart as leaders of their generation.”
Crafting Fashion That Lasts
A dedication to excellence and continuity runs deep at Max Mara. In an industry where the revolving door of creative directors and CEOs is often likened to a game of musical chairs, Ian Griffiths has remained the steady hand guiding the house as its celebrated creative director since 2005.
Meanwhile, the Maramotti family – now in its third generation – continues to lead with confidence, overseeing a fashion empire that spans nine brands and 2500 stores in more than 100 countries, all built upon the foundation laid by Achille.
A prime example of this legacy is the house’s latest reimagining of its classic lightweight camelhair coat, the Olimpia Jacket. The double-breasted style and broad shoulders echo the 1992 collection, but the oversized yet straight silhouette and mini length are unmistakably now. It’s clear that, in time, this new creation will join its predecessors – like the very first coat Achille designed in 1951 – in the Max Mara archives, marking yet another milestone for the family.
“Today’s fashion is very fast and very crowded and not very durable, which is exactly the opposite of what we think sustains the brand,” says Maria Giulia. “And this is the reason why I think we are relevant for today’s fashion.”
It’s a romantic sentiment, but the Maramottis know a legacy you can believe in is an unstoppable force.
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