A tribute to Berlin . To that Berlin that celebrates the 30th anniversary of the fall of the wall. To that Berlin transformed by visionary architects after being wounded during the Second World War. To that Berlin interpreted by two contemporary icons like David Bowie and Marlene Dietrich. The story of Max Mara linked to the 2020 Resort starts from the German capital. And in particular from the spectacular rooms of the Neues museum, reborn thanks to the restoration work carried out by David Chipperfield and now destined to host an important collection of Egyptian artefacts, including the head of Nefertiti. "Berlin has been my favorite city since I was a student in Manchester in the 80s. The art of the Bauhaus. The years of David Bowie and his extreme creativity. The charm of a great seductress like Marlene Dietrich ... I have always had a strong and creative bond with this city. And I've always had the desire to explore it on an aesthetic level, "explained Ian Griffiths, creative director of the brand, a few minutes before the fashion show began. "This year, then, the city celebrates the 30th anniversary of the fall of the wall, an important moment that celebrates the destruction of a wall, not only physical, and marks the rebirth of a city that today, also architecturally, boasts Norman projects. Foster, by Renzo Piano, by Franck Gehry, by Daniel Libeskind or by Chipperfield himself. Berlin is today a reference point for art, architecture and design. Disciplines that are closely linked to the Max Mara universe ”. Et voila. The Max Mara Resort 2020 collection therefore appears under the eyes of a first row led by Angela Bassett and dotted with international influencers. "I'm really excited to be here. The show is the culmination of six months of work, it is the final stage of a long and complex journey that has involved many different people ", added Griffiths. “And it excites me even more to be here, in an ambiant load of history but transformed by a modern artistic intervention. Which is the essence of Max Mara's story ”. A story that starts again, when the lights on the monumental staircase come on. An exciting soundtrack echoes in the air, with the voice of David Bowie speaking and telling the disturbing charm of Marlene Dietrich (the two took part in the film Gigolò but never met: the film was shot in Paris, where the diva lived, and Berlin, where Bowie was acting and their interactions were edited post-production). In the 49 looks that tread the scene is enclosed all the new by Max Mara. "I wanted to create something brutalist, in a sense primitive and find a meeting point between culture and subculture. To be classic but not conservative as in the spirit of the brand". Thus the new is punctuated by the honey-colored coats and suits of the beginning, by the monumental camet-painted paletots and interwoven with light, by the sauvage leather and by the double-breasted pinstripes dressed in tobacco. To tighten the waist, thin male belts in precious crocodile. On the neck and wrists jewels that contain a simple and elegant neoprimitivism. To break the rigor of a daywear marked by innumerable shades of gray, a sharp deep red, ruby. For frayed flower capes or skirts that touch the ground, turned into lush bushes. Those same flowers that sprout on the shoulders of a turtleneck sweater or on those of a jacket with a tailored fit. And they bloom in a blinding white finish. Between sinful transparencies, androgynous constructions or fabrics with unfinished edges, ready to seal a sophisticated and icy elegance. Daughter of a teaching of Dietrich herself: “I dress to tell a story. Not for myself, not for the public nor for men or because it's fashionable ... I dress to create an image and tell a story ”. On the stage, to close the show, the supermodel Carolyn Murphy but above all Ute Lemper, the German singer and actress considered the creative heir of Dietrich herself. La Lemper, the night before the show in a xmara-ss20-en-consideration & utm_content = native-article-1 "> complete Tuxedo , had staged, in the decadently refined setting of the Spiegelsaal-Claerchens ballroom, the show Rendezvous with Marlene dedicated to his deep and creatively intense relationship with the Blue Angel: to animate the post-show, a gala dinner in the heart of the museum with an Italian-style menu, including caviar pizza and lemon ravioli, but above all a total white setting, with tables dressed in immaculate flowers and animated by a fauna of animals sculpted in refined Meissen porcelain: fawns and monkeys, flamingos and lions, elephants and large beavers sprouting in a jungle of lilies of the valley and lion's mouth, among candelabra and small lights, to tell a link, the one between Max Mara and Meissen , which saw the two companies collaborate in the sign of traditional manufacturing. "We are happy to have worked with Max Mara and to have combined the history of two renowned brands in the whole world for their creative and manufacturing excellence ", explained Georg Nussdorfer, CEO of Meissen. “The Meissen snow buds that served as inspiration for the collection are part of the history of porcelain. Now thanks to Max Mara we will also enchant the world of fashion ". To enclose all these concepts, a coat. Baptized Berlin, it is double-faced in cashmere and wool, with Marlene pointed shoulders and applied flower decorations inspired by Meissen porcelain. "This is the first look I designed ... It contains all the thought of this season. There is the elegance and character of Marlene. There is the refined provocation of Bowie. They were very different but had a common trait in their dress. There is Berlin modernism and Meissen decorativism, "concluded Griffiths. “There is femininity and rigor, delicate seduction and provocative charm. On the other hand, as Dietrich said, if the woman is an angel she can also be devil ... In fact, almost certainly the devil is a woman ".