From April to September, when the aristocrats shut down their palatial villas, bohemians of every kind flocked to the Riviera. Things were bound to happen when the likes of F. Scott Fitzgerald, Picasso, and Stravinsk rubbed shoulders. But when Zelda Fitzgerald, Dora Maar and Bronislava Nijinska joined in, not to mention the Dorothy Parker, Josephine Baker and Isadora Duncan, the women were sure to jump from muse to maestro.
On the sun-soaked beaches, masterpieces were created, the data was edited and a timeless look was formed: the Riviera style. No one has worn it better than Renee Perle. Ranked in history books as the silent muse and lover of photographer Jacques-Henri Lartigue, she appears in his most memorable photographs. She deserves more credit; Kohl eyes, perfectly colored cupid’s bow, finger waving hair is very substantial to her. as well as the original look that is the backbone of the Max Mara collection; Backless tanks, voluminous canvas sailor pants, floppy wide-brimmed sun hats, and long, heavy skirts that hug the hip and then slide into pools of judd. I’ve drawn hundreds of naive self-portraits. They have been dismissed by art historians as staples, but arguably indicate a remarkable creative talent; Her image was her image.
Just as Renee Perle embodies fashion, Eileen Gray embodies architecture. In Roquebrune-Cap-Martin Gray she built E1027, a beachfront villa for herself and her lover, displaying her uniquely feminine style in Modernism. She argued that the poverty of modern architecture stems from the atrophy of sensuality. A challenge to straightening the straight lines of masculine gentlemen, Gray’s floor plan includes the transverse curve. Max Mara follows the suit with a zigzag bias cut, and brave new femininity is also evident in the extravagant floral-print organza bows at Perlesque. “vernacular art” pattern.
The E1027 has a hint of craftsmanship, a reminder that this is a woman’s and man’s home, not a machine. At Max Mara, every piece is designed not just to be worn, but to live on. raw linen – unprocessed, undyed flax resembling burlap, sometimes with raw cilia. Max Mara’s classic architectural coats take on the soft allure of sun-bleached beach gowns. Gray’s Inner Life build is accented in a special shade of Mediterranean blue ink that moves the heart; Max Mara gives her view on washed cotton drill overalls In the same evocative colour.
They were diligent historians, those who lived on the Riviera. But apart from the pictures, Pearl is voiceless and unrecorded. Have you and Eileen Gray met before? Max Mara imagines they did; Two women with a shared vision of modernity take to the balcony of E1027. They blink in the morning light, lifting their smiling faces to meet the sparkling blue horizon.”
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