1950년대: 창립자 아킬레 마라모티와 코트에 대한 꿈
1950년대에 아킬레 마라모티는 맞춤 의상을 제작하고 생산 시설을 갖추어 남성 코트를 여성 의복의 아이코닉한 아이템으로 만드는 꿈을 키워왔습니다. 당시 그의 꿈은 시대를 앞섰으며 기업가적 기질과 사업가적 수완에서 비롯된 직관을 바탕으로 한 것이었습니다. 이후 그는 자신의 직관에 따라 여성을 위한 "편안한 레디 투 웨어" 스타일의 아우터웨어와 수트를 제작했고, 마침내 1951년에 이탈리아 북부 도시 레지오 에밀리아에 자신의 회사인 마라모티 콘페지오니를 설립했습니다. 아킬레 마라모티의 스튜디오 문을 들어서서 창립자의 생애를 깊이 들여다보는 동안 어느새 그의 발자취를 따라 그가 꾸었던 꿈이 눈앞에 꿈처럼 펼쳐지는 것을 발견할 수 있습니다.
1960년대: 크리에이티브 스튜디오, "모두를 위한" 코트, 디자이너, 팝 아트
1960년대에 막스 마라는 파리, 런던과 같은 유럽의 새로운 패션 도시에서 발산해내는 시각적인 신호들을 모두 수용하였습니다. 그리고 소비자들의 취향이 변화하고 있음을 깨닫고 가장 새로운 패션 트렌드를 결정하는 데 젊은이들의 영향력이 점점 커지고 있다는 사실을 인정해야 했습니다. 회사의 레지오 에밀리아 본사 가장 중심에 전략적으로 위치한 크리에이티브 스튜디오는 유능한 디자이너들의 스케치와 드로잉들을 제품으로 변화시켰습니다. 스튜디오는 그야말로, 팝 아트 이미지와 폭발적인 젊은이들의 문화, 새로운 패션 도시의 분위기와 트렌드로 가득한 칼레이도스코프와도 같은 다채로운 세계를 보여줍니다.
2010년: 패션쇼. 백스테이지부터 최신 트렌드를 아우르는 런웨이 쇼
조명과 현란한 플래시 라이트, 사진, 음악, 리듬, 기다림과 열망, 호기심, 런웨이에서 펼쳐지는 눈부신 룩과 관람석 첫줄에 앉은 설렘과 흥분... 막스마라는 최신 런웨이 룩에서 엄선한 8개의 피스를 통해 새로운 밀레니엄과 함께 시작된 첫 십 년 동안의 시대적 분위기와 취향, 트렌드를 포착하여 담아내는 이상적인 패션쇼를 제작했습니다. 2010년대의 매혹적이고 화려한 패션에는 막스마라 여성의 글로벌한 스타일을 주도한 셀레브리티의 역할이 컸으며 오늘날에도 지속적으로 기여하고 있습니다. '아틀리에 컬렉션'의 고급스러운 코트를 비롯해 렌조 피아노 빌딩 워크샵과 콜라보레이션으로 디자인한 '휘트니 백'은 막스마라의 끊임없는 연구와 진화를 위한 노력을 실감하게 합니다.
1970년대: 콜로라마, 컬러풀한 코트와 실험 미술
새로운 형태와 새로운 소재, 새로운 컬러, 새로운 제작 공정, 새로운 크리에이티브 아이디어: 반항과 시위로 가득했던 1970년대의 시대적 분위기는 완전히 새로운 룩의 개발을 이끌어냈고 이와 함께 1969년 스포트막스(Sportmax) 레이블이 탄생되며 1976년에는 장 샤를 드 카스텔바작(Castelbajac)이 디렉팅을 맡은 레이블 최초의 실험적인 패션쇼를 개최했습니다. 이러한 특별한 실험적 환경이 조성될 수 있었던 배경에는 바로 프랑스 출신의 창의적인 디자이너들이 존재했습니다. 그들은 막스마라의 스타일 오피스와 대화를 이끌어내면서 제작 팀의 요구와 가이드라인을 충족해낼 수 있었습니다.
THE FASHION SHOW
2000년대: 막스마라 여성. 더 넓은 세상 밖으로 나아가 여성의 세계와 함께 하는 코트
막스마라는 변화를 주도하고 여성에게 권한을 부여하는 일에 앞장서 왔습니다. 창의적 인재와 현대미술을 후원하는 사업과 더불어 여성을 지원하는 모든 사회적 활동들은 오늘날 막스마라의 DNA를 이루는 중요한 요소들입니다. 2005년부터 막스마라는 화이트채플 갤러리와의 콜라보레이션을 통해 '막스마라 여성 미술상'을 신설하고 여성의 창의적 활동을 발전시키는 데 기여해 왔습니다. 이 상은 영국 출신의 신인 여성 아티스트를 기념하는 콜레치오네 마라모티 미술관이 후원하고 있습니다. 2006년부터는 '여성 영화인' 협회를 후원하고 육성하기 위해 '막스마라 미래의 얼굴상을 신설하여 영화계에서 주목 받는 여성 인재들을 수상하고 있습니다.
1990년대: 사진 촬영 세트, 코트 스토리, 완벽한 이미지
패션과 위대한 사진 작가의 만남을 통해 훗날 막스마라의 역사에 영원히 남게 될 이미지들이 탄생하였습니다. 그 이미지들은 제품의 퀄리티와 각 코트의 차별점뿐만 아니라 코트를 착용한 여성들의 고유한 해석을 잘 보여주었습니다. 완벽한 이미지를 얻기 위한 노력은 90년대에 더욱 치열해졌습니다. 사진 작가들은 막스마라의 스토리를 전해주는 동시에 최소한의 배경만으로 세계적인 탑 모델이 입은 막스마라 코트의 럭셔리한 아름다움을 드러내는 이미지를 탐구했습니다. 막스마라의 "스토리텔링"은 점차 제품의 스토리를 이야기하는 것뿐만 아니라 컬렉션 피스의 제작 과정을 묘사하는 데 초점을 두게 되었습니다. 따라서, 특별 카탈로그나 런웨이 비디오, 백스테이지 사진, 막스마라의 MM 잡지 등, 다양한 매체들을 활용하였고 이렇게 등장한 새로운 매체들은 미래의 패션 내러티브에 영원히 남게 될 변화를 만들게 됩니다.
1980년대: 아이콘. 코트의 마법과 이탈리안 노하우
전 세계 패션 업계가 이탈리안 스타일에 대해 말하고 이탈리아 디자이너가 세계적인 주목을 받았던 80년대에 프랑스 디자이너인 안 마리 베레타(Anne Marie Beretta)의 손에서 시대를 초월한 아이콘인 101801 코트를 구상한 스케치로 막스마라의 브랜드 정체성의 정수가 탄생하였습니다. 1988년에 운영을 시작한 산 마우리지오(San Maurizio) 공장은 회사의 시그니처 코트를 만드는 데 필요한 모든 제작 공정과 단계에 담긴 마법과 에너지를 드러내 보였습니다. 80년대에 이 아이코닉 카멜 코트는 일하는 여성을 위한 여성스럽고도 세련된 머스트 해브 아이템으로 자리 잡았습니다.
THE MAX MARA WOMEN
Coats! A journey into Max Mara Heritage
Starting November 28th a new edition of Coats! the exhibition dedicated to over 60 years of history of Max Mara, will open in Seoul, Korea, in the futuristic and multi-functional DDP (Dongadaemun Design Plaza) designed by Zaha Hadid. After Moscow (2011), Beijing (2009), Tokyo (2007) and Berlin (2006), Coats! is designed once again by Studio MIGLIORE+SERVETTO ARCHITECTS.
The exhibition will be shown inside a monumental dome inspired by the utopian architecture of Étienne-Louis Boullée. It will present a completely new overview of the Max Mara Heritage. This journey plunges visitors right into the heart of the history of the coat and of the brand, winding its way through seven themed rooms: a series of modern-day wunderkammer, packed with garments, sounds, memorabilia and interactive features representing the vision that moved Max Mara’s founder, Achille Maramotti: “to make the ordinary extraordinary”.
The intuition that inspired him to turn the masculine coat into an icon of the womenswear wardrobe is one of the most visionary adventures of the Italian clothing industry. The exhibition starts from the dream of the perfect coat. Coats! opens with the site-specific digital installation by the Korean artist Yiyun Kang, curated by renowned Daehyung Lee. It will explore the space of the dome, turning features of the production process and images from the Max Mara’s historical archive into patterns; a bright, living material that will give a distinctive visual slant to the exhibition’s piazza, a route through seven rooms of the Max Mara world.
The rooms can be visited either in chronological order or according to theme, following the emotions, music, shifts in atmospheres, scenarios and colours that mark the move from one decade to the next.
Coats! opens with the site-specific digital installation by the Korean artist Yiyun Kang, curated by renowned
Daehyung Lee. It will explore the space of the dome, turning features of the production process and images
from the Max Mara’s historical archive into patterns; a bright, living material that will give a distinctive visual
slant to the exhibition’s piazza, a route through seven rooms of the Max Mara world.
The rooms can be visited
either in chronological order or according to theme, following the emotions, music, shifts in atmospheres,
scenarios and colours that mark the move from one decade to the next.
Each room opens with a set, a sort of theatrical representation, suspended between imagination and reality,
which metaphorically places the focus on a specific theme of Max Mara’s history:
• The founder. Achille Maramotti and the dream of the coat (‘50s)
• Creative study. The democratic coat, designers and pop (‘60s)
• Colorama. The coat in technicolor and the art of experimentation (‘70s)
• The icon. The magic of the coat and Italian know how (‘80s)
• The set. The representation of the coat and the perfect image (‘90s)
• The Max Mara women. The journey of the coat and the female universe (2000)
• The fashion show. Runway glamour and new projects (last decade of 2000)
Over ninety coats are on show in the exhibition, starting from the first ones from the 50s to the more recent
ones that walked the Milan runway, and of course the iconic 101801 style.
Beginning from the early days of
dressmaking and its evolution into fashion, the coats show the changes in taste, society and lifestyles that have marked each decade, together with sketches by the designers who have worked with Max Mara (Anne Marie Beretta, Emmanuelle Khanh, Karl Lagerfeld, Jean-Charles de CastelBajac, Narciso Rodriguez, Giambattista Valli and Proenza Schouler).
The exhibition features historical magazines, raw materials, advertising campaigns shot by legendary fashion photographers (Richard Avedon, Arthur Elgort, Steven Meisel, Sarah Moon, Max Vadukul, Mario Sorrenti, David Sims and Craig McDean); celebrities portraits and everyday objects (sewing machines, measuring tapes, scissors etc) and artworks that are the fruit of the dialogue between contemporary artists and the founder, avid art collector. This continues today with the Collezione Maramotti.
Featuring fascinating items belonging to the historical archive of the Group the exhibition offers a
reconstruction of the varieties of stories and inventions behind the know how of Max Mara illustrating the
evolution of the product and the design culture underlying each garment. Coats! reveals how the family
business, by engaging with the local area, Reggio Emilia, and with the world, has been able to interpret the
desires of women since 1951 right up to today.
Read the press release
1. Have you ever worked on a fashion project before? / Is this your first work with the fashion world? No I haven’t. / Yes. This is the first time I have worked in the world of fashion.
2. When was your first meeting with the Max Mara Company and how did you react? My first visit to Reggio Emilia was in May, 2017. Before the visit to the Max Mara HQ, Factory, Archive, and Maramotti Collezione, my understanding of the operations of the company was superficial. The visit helped me to not only understand but also genuinely ‘feel’ the philosophy of the company. At the heart of its philosophy, there are people who really appreciate it and try hard to adhere to its values. I found it to be a particularly inspirational experience.
3. Did you know about Max Mara previously? Yes, of course.
4. How did you feel during the visit to the Max Mara archives in Reggio Emilia? I truly admire Max Mara’s respect for their heritage and values and the effort that has been put in to support them. While I was working at the Victoria and Albert Museum (V&A) as a resident artist, something I will never forget was my visit to their archive and storage facilities. I realized that the overall quality of the museum is reflected by the perfect maintenance of its archive collections and a profound respect of its history. I felt the same way when I visited Reggio Emilia.I was deeply impressed by the focus on its essence, and I believe that it is rooted in the company’s archive.
5. What do you think about fashion? How do you deal with it? By definition, fashion is a trend. It is a style in dress, ornament, or manners of behavior. To me, fashion is not just a fast-changing trend, but a means of expressing one’s character and feelings that can also reflect the specificities of an occasion. I also believe that the choice of fashion relates to a fundamental understanding of my own physical body.
6. It is clear that art influences fashion. Do you think that fashion influences art too? As I have just pointed out, fashion is a trend; it is a movement, a tendency, and an inclination that is closely related to desire. I consider such trends that originate from desire to be also very important in art. Nowadays, I feel that fashion is not only about garments but also about creativity and lifestyle as a whole. For example, Max Mara manifests its identity not only through their fashion items, but also through their archive, Maramotti Collezione, and the Max Mara Art Prize for Women. In this way, fashion and art can cohabit by sharing influences and supporting each other.
7. Where do you think that fashion and art meet?
I certainly believe that they coincide in this exhibition! To continue from the previous question, I feel that this exhibition is one kind of Max Mara’s holistic manifestations. It is not only about the history of Max Mara’s clothes but also about its heritage and a deep respect for art. I believe that this exhibition will generate a dynamic experience that can connect the company with its audience through the contemporary artwork.
8. How do you think it is possible to combine your language with the language of fashion?
First of all, I don’t think that I completely comprehend the language of fashion. However, it seems to me that, at least in the case of Max Mara, the fundamental language of my work and that of fashion have a great deal in common. In Max Mara’s consistent philosophy and respect for its heritage, I find a craftsmanship that is not volatile. Moreover, Max Mara’s minimal and modernistic aesthetic style coincides with my own visual language. I appreciate that my work and Max Mara’s designs avoid superfluousness and redundancy; both are faithful to the essence, in such a way that people often feel that they are more poetic than decorative.
9. What is the difference between an art production and a fashion one?
Both are actually quite similar. To produce works of art and fashion requires effort, perfection, and collaboration on many levels. However, as art is not always produced with a sale in mind, the art-making is sometimes very spontaneous and intuitive. I suppose that the objective of making a sale draws an essential distinction between art and fashion. I think that art has relatively more freedom than fashion in terms of developing its concepts, visualization, and approaching its audience.
10. What are the starting points and inspiration behind your artworks?
Surface and depth are vitally important, as is desire. Fabric wraps and constructs the volume of the human body. When aesthetics intervenes, it becomes a fashion. Fashion is closely related to desire. Max Mara’s fashion is not superficial but deep. Dome is not just a surface, it is simultaneously an environment. This is a deep, volumetric dimension. These are my starting points and they form the key concepts of this work.
11. What relationship is there between your art and Korean culture? Has Korean culture
influenced your artwork?
I don’t think that Korean heritage has significantly influenced my work on a surface level. Rather, the influences of Korean culture exist on a subconscious level. My installations are mostly sitespecific, so I’m quite adaptable to given conditions and flexible when it comes to mixing my language into the existing structure in order to create a new experience.
Similarly, contemporary Korean culture also has a high degree of adaptability and remixability.
For example, let’s take a look at the Dongdaemun Design Plaza (DDP) which is the venue of the COAT exhibition. Within 5 minutes of the site, you can see Dongdaemoon (a.k.a Heunginjimun), a prominent Korean historical landmark built in the 14th century, Dongdaemoon market, a large commercial district comprising of traditional markets and shopping centers, and the DDP itself, a futuristic complex designed by Zaha Hadid. As such, all of these conflicting values have somehow harmoniously converged into contemporary Korean culture. We’re good at blending diverse qualities in order to create a new environment, and I think this distinctive feature of Korean culture intuitively affects my work.
12. Space is very important for your work. How has the element of the dome conditioned your
The dome has been a very challenging canvas for me. Moreover, the dome at the COAT exhibition is 20 meters in diameter. It is not an object, but rather an environment that is completely immersive, absorptive even. Our perception of and engagement in this environment is considerably different to that of other types of screens. Therefore, I firstly needed to investigate how the dome structure is conceptually and practically different so I could produce a video that is interconnected with the dome structure. In this way, the narrative of my projection could be developed with careful consideration of its environment; it is an immersive dome.
13. What kind of audience engagement are you looking for with your artworks?
The architect Ico and I have critically focused on the pathway of this exhibition, which is openstructured.
Members of the audience can navigate and create their own itinerary within this environment. Thus, my projections on the dome also coincide with the concept of the pathway. My projection neither takes a cinematic linear narrative nor does it have a definite start and end point. Rather, it flows between the surface of the dome and the volume of the environment in a constant loop. As a result, the audience can stay as long as they want, either hovering or immersing themselves. I have attempted to invite viewers to take their own journey between the Wunderkammer rooms and the dome space, between object and environment, and between surface and depth.
by Daehyung Lee (Curator, Korean Pavilion, Venice Biennale - Art Director, Hyundai Motor Company)
The work of art, created by the London based Korean artist Yiyun Kang in collaboration
with MaxMara, one of the world’s premier fashion brands, creates a sublime landscape showcasing
the trajectories of moving images at Dongdaemun Design Plaza (DDP) in Seoul. Kang is a master of
illusions (but not of deceptions, as I will soon explain). She uses the technology of spatial projection
mapping to transform space and existing architectural structures in a manner that collapses the
opposition between concepts - materiality/immateriality, reality/virtuality, presence/absence,
analog/digital, body/machine, fact/fiction, history/myth - which are central to our perceptual
orientation, epistemic ordering of the world, and anchoring of subjectivity.
For her work Deep Surface (an oxymoron that undoes another key dichotomy), Kang uses the
same technology to project images onto the internal surface of a dome. The projection consists of
dancers moving and pressing their bodies against a white screen, which stretches and puckers with
their movements. As a result, the mixture of the dome structure and Kang’s digital moving images
has conceived new modes of spectatorship that erodes both the boundaries between illusion and
reality, and the disparities between individual voyeuristic experiences and interpersonal modes of
observation. As the work’s title emphasizes, the dancers only become visible through an illusory
surface but simultaneously seem to exist in a depth or space beyond our vision—in a liminal place
between the image and the dome that cannot possibly exist. The outlines of the dancers’ faces
and body parts appear fleetingly but with a force that begs for connection. The effect is of a
sculpture in motion reminiscent of Michelangelo’s unfinished marble sculptures in which deceivingly
life-like figures seem to emerge, as if out of their own volition, from inanimate blocks of rock.
There is a clear correspondence between Kang’s dome and Plato’s cave as enclosed spaces. In
addition, Kang’s dancers immediately echo Plato’s dancing shadows. Yet Deep Surface also
distinguishes itself from Plato’s allegory in an important way. Indeed, while Plato’s cave
underscored people’s trust in their perceptions and unquestioning adherence to a body of
knowledge constructed on the aforementioned perceptions, Kang’s work has the opposite effect.
Because Kang’s projections completely dissolve the solidity of the dome and disrupt our sense of
space and order and, by extension, our cognitive centering, Deep Surface injects us with
an intense sense of bodily experience triggered by highly immersive environments. We are
mesmerized and even absorbed by the work’s trompe l’oeil effects and yet critically aware of
their unattainable illusory nature. Trapped behind the cloth, the dancers—who cannot see us or our
world beyond the white screen—become clear metaphors of our own confinement within our
always finite and imperfect worldview. In this manner, Deep Surface places its dancers in the same
position as Plato’s prisoners, which in turn allows us, the audience, to experience a revelatory
Brechtian distancing or estrangement effect.
Deep Surface also creates an analogy between the white screen and its projected footage of
camel cloth, the signature material of the luxury fashion brand Max Mara. Of course, fashion has an
intimate relationship to the human body and can act as a radical form of self-expression. The work,
for instance, creates a parallel between the expressive movements of the dancers and the flowing
folds of the projected camel cloth. However, the white screen in Deep Surface is the medium
through which we obtain an oxymoronic context that highlights the impossibility of understanding
the notion of ‘depth’ in isolation from that of ‘surface’ and vice versa. The work thus suggests
that fashion, rather than being a mere trend or a form of spectacle as if often assumed, can be a
medium through which we discover new realities and new subject positions. Indeed, the rest of the
chambers in the installations - the wonder cabinets - offer us an encyclopedic understanding of
Max Mara, while narrating history through its creation. Through these rooms, we can thus shift our
view of history, fashion, and MaxMara in a manner that is analogous to the discoveries triggered by
the rest of Kang’s installation.