In the middle of Caserta’s imposing Royal Palace, beneath sprawling Baroque ceilings and beside manicured gardens, a different kind of royalty walked the runway. She wore thigh-high leather boots, a cropped top, and the quiet confidence of a woman who knows exactly where she stands. This wasn’t just another resort show. This was Max Mara Resort 2026: a sun-drenched collision of cinematic heritage, Neapolitan grit, and unapologetic modern femininity.

Ian Griffiths, the house’s longtime creative director, didn’t just deliver a collection—he spun a full-length feature. Starring: screen goddesses of the past, the chaotic beauty of Naples, and today’s Max Mara woman, bold enough to wear sequined pajama suits in November and sensible enough to do it with loafers.

From Loren to Luxury: The Origins of Italian Style

“I think Italian style, which has captured everyone’s imagination, was made known globally by film as much as anything else,” Griffiths said before the show. He’s not wrong. Before Milan became the capital of fashion weeks and glossy campaigns, Italian allure was born in black and white. Think Silvana Mangano trudging through rice fields in Riso Amaro, shorts hiked and brows furrowed, or Sophia Loren smoldering in black lingerie beside Marcello Mastroianni in Ieri, Oggi, Domani.

Griffiths distilled these women’s fierce sensuality into this year’s silhouettes—cropped tops paired with structured capelets, full-circle skirts under bra tops, and coats that demand space and respect. The result? A little sexier, a little riskier, and completely in tune with the Max Mara woman of 2026.

Modern muses weren’t far behind either. Sharon Stone and Gwyneth Paltrow watched the show from the front row, joined by rising stars like Joey King and Zhu Zhu. It felt like a passing of the torch—from Italy’s old-school icons to a new generation of global sirens.

Why Caserta? Why Not Naples?

Naples was clearly the spiritual home of this collection—its chaos, contradictions, and cinematic allure pulsing through every hemline and print. So why not show the collection there?

“We wanted to show in the biggest and best,” Griffiths explained. “And there’s something about the Royal Palace, which, despite its huge size, is relatively unknown, especially to foreigners.” Built by the House of Bourbon-Two Sicilies in the 18th century and recognized as a UNESCO World Heritage site, Caserta’s Royal Palace brought an otherworldly grandeur to the runway, creating a striking contrast with the grounded, wearable sensuality of the clothes.

Lingerie, Loafers & Liberation

This wasn’t a parade of ballgowns. Max Mara Resort 2026 was designed for a woman on the move—be it across the cobblestone streets of Naples or an art-filled getaway in the Amalfi Coast. The silhouettes balanced feminine softness with masculine precision: soft wool coats were belted with purpose, while candy-striped shirts with starched white collars peeked out from under feather-light tailoring.

There were nods to vintage glamour—strapless gowns dripping with crystals, sequined white blouses—but also a refreshing normalcy. Loafers grounded the looks. Silk pajama suits hinted at decadence but whispered comfort. This was power dressing redefined: confident, sensuous, and surprisingly wearable.

Griffiths framed this new direction as an evolution, not a rupture: “We would be making a huge mistake if we sold something to that woman and she put it on and felt ridiculous. So that’s a huge responsibility.”

The Marinella Crossover: When Menswear Met the Mediterranean

One of the collection’s most unexpected details? A deep-dive into the archives of E. Marinella, Naples’ legendary tie-maker. Griffiths collaborated with the storied brand to reinterpret classic 1951 tie patterns into silk pajama suits, mini-fringed skirts, and trapeze skirts that nodded to post-war femininity.

Here, Neapolitan dandyism met modern sensuality, and the result was stunning. The silk prints reappeared as oversized, embroidered motifs on cozy cashmere knits, adding a layer of storytelling to garments often stripped of context.

Naples as State of Mind

Beyond fashion, the heart of this collection was an ode to the resilience and magic of Naples itself. Griffiths cited Naples ’44, Norman Lewis’ war memoir, as a key inspiration—specifically the book’s transformation from horror to admiration as the writer witnessed the spirit of the Neapolitans.

“Fashion is about fantasy,” Griffiths said, “but the currency of fashion is this beautified version of Naples.” A fantasy, yes—but one rooted in truth. It’s a love letter to a city that never gives up, that continues to flirt with chaos and beauty in equal measure.

The Final Sparkle

The show ended, as all Max Mara shows tend to, with a little shimmer. Strapless gowns glistened under the towering arcades of the palace, punctuating the story with elegance. But beneath the sparkle, the message was clear: this wasn’t fantasy for fantasy’s sake. This was fantasy made wearable. A beautiful daydream grounded in strength, history, and radical self-assurance.

Because in a world of fast fashion and loud branding, there’s nothing more subversive—or sexier—than a woman who whispers powerfully through her clothes.