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MAX MARA - Pastel Army

MAX MARA - Pastel Army

Tuesday, May 12, 2020/ Editor -  

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Spring - Summer 2020

 

Dubai, United Arab Emirates, May 12, 2020:   “Nella narrativa c’è bisogno di più donne come agenti segreti”, dichiara la scrittrice femminista Natasha Walter “dopo tutto, le donne sono allenate a mantenere i segreti”. A Quiet Life, la sua opera di debutto, mette le donne al centro di un romanzo di spionaggio. Non è la prima - il fumetto sull’avventuriera Modesty Blaise è stato creato nel 1963 - ma è una delle poche. La più recente è senz’altro Killing Eve, la serie tv fenomeno della BBC America che ha ottenuto riconoscimenti in tutto il mondo (tra cui 9 nomination ai prossimi Emmy Awards). Non a caso all’autrice della serie, Phoebe Waller-Bridge, è stata commissionata la revisione della sceneggiatura del prossimo film di James Bond, che uscirà la prossima primavera: “le donne avranno un ruolo di primo piano”, ha dichiarato Waller-Bridge.

Max Mara immagina il guardaroba di un film ancora da girare. Gli elementi ci sono già tutti, sono solo da mettere in ordine. Modesty Blaise è la nuova 007. Ammira l’eleganza di Bond, ma ne mette in discussione il modus operandi, gli inseguimenti rocamboleschi in auto, le sparatorie e le esplosioni catastrofiche. Pensa che sia tutto così pericoloso e inutile. Con uno strata-gemma o una trappola sconfigge i suoi avversari. Non c’è quindi bisogno di ricorrere alla pistola, ma la fondina è un accesso-rio molto elegante. Il nostro film inizia a Londra; in macchina lungo la piovosa Whitehall, il rumore dei tacchi risuona nei corridoi del potere, il cupo silenzio di un ufficio rivestito in legno. Indossa impermeabili e tailleur tre pezzi in Principe di Galles con spalle ben delineate. Per il pranzo in un discreto pub di Mayfair indossa micro stampe foulard in bianco e nero.

Viaggia sempre con una giacca sahariana e la sua Whitney Bag. Piccola, morbida e precisa oppure grande abbastanza per 24 ore. Il suo jet privato atterra su un’isola tropicale. Adora le divise: bermuda che sfiorano il ginocchio e camice multitasche in rosa conchiglia, blu cipria o eau de Nil.

E’ preparata ad ogni eventualità. Un cocktail con il soggetto del suo incarico? Un invito nella villa del Governatore? Ha con sé lunghe gonne a stampa Paisley dai colori delicati o abiti fluidi color pastello con bretelle. Quando attraversa il prato fino all’elicottero che l’attende, i volant di seta ondeggiano seducenti. In questo film immaginario e nella vita reale, Max Mara non la tradisce mai.


‘Fiction needs more female spies,’ says feminist writer Natasha Walter, ‘after all, women are trained to keep secrets’. Her fiction debut A Quiet Life puts a woman at the centre of a spy thriller. She’s not the first –action adventuress Modesty Blaise has been around since 1963- but she’s one of very few. The latest is the BBC America phenomenon Killing Eve. It has won a bunch of accolades (with nine Emmy nominations pending) and its writer, woman-of-the-moment Phoebe Waller-Bridge has been hired to polish the script of the new Bond movie. Due to premier next Spring, Waller-Bridge says it will ‘treat women properly’. And hopefully we will get a dash of her tongue-in-cheek humour.

Max Mara imagines the wardrobe for a film yet to be made. All the tropes are there, but turned around. Modesty Blaise is the new 007. She admires Bond’s elegance, but questions his modus operandi. Bumpy car chases, shootouts and cataclysmic explosions -dangerous, dirty and unnecessary, she thinks. With a strategic hint and a well laid trap, she manoeuvers her adver-sary into surrender. No need for a gun then, but the holster makes for a very stylish design detail.

Our film begins in London; a car rides through rain streaked Whitehall, heels click briskly in the corridors of power, the dark hush of a wood paneled office. She wears spy-style trenchcoats and sharp shouldered three-piece trouser suits in ‘sharkskin’ and Prince-de-Galles. Later, lunch at a discreet Mayfair watering hole; she wears a playful mix micro foulard prints in black and white.

To the airport; she never travels without a generously proportioned bush jacket and a perfectly designed Whitney bag. The latest are small, soft and neat or big enough for overnight (you never know).

A private jet delivers our heroine to a palm fringed island. She crosses the glittering bay by speed launch to a sequestered hideaway. She favours tropical military uniforms –shorts that graze the knee and multi-pocketed shirts in eau-de-nil, shell pink, and powder blue. Perfect for keeping cool when chasing through the jungle.

She is prepared for every eventuality. Cocktails with the subject of her assignment? A grand affair at the Governor’s mansion? She has long pale paisley print bias cut skirts and fluid pastel gowns with tough looking braces. She walks across the lawn to a waiting helicopter in a flurry of diagonally placed silk volants. In this film –and in real life- Max Mara never lets her down.


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