Max Mara Pre Fall 20
The Queen of pop punk Debbie Harry publishes her memoirs; Marlborough Contemporary stages an exhibition of works from the private collection of Holly Solomon. Looks like it’s time for a reappraisal of the contribution of women to the febrile New York art-cum-club scene in the ‘70s and ‘80s. Holly Solomon was the glamorous, courageous collector and gallerist who was ahead of the curve in supporting some of the 20th century’s leading artists -among them Nam June Paik, Robert Mapplethorpe and William Wegman -and in particular women artists such as Laurie Anderson and Mary Heilmann. And she often wore Max Mara.
Max Mara Pre-Fall 2020 imagines a vernissage at a downtown gallery sometime in the seventies. The throng is peppered with famous names; all the above, plus Andy Warhol and his entourage, Trisha Brown, Lydia Lunch and Bianca Jagger.
It’s a melting pot of style that serves up a tougher kind of femininity just right for the gritty city. The Max Mara’s iconic style is reenergized with shots of pop-neon color.
The ruffle is recast in a central role. Shedding its romantic associations, it delineates the collar or cuff of a sharply tailored jacket, a sassy strict pencil skirt or a voluminous taffeta gown.
The trench coat gets a feminine makeover too, with a dramatic balloon shaped sleeve and a trapezoid silhouette. Necklaces, rings and earrings share the collection’s arty overtones.