The chemistry between Nureyev and Fonteyn fizzed and foamed wherever they performed. It was bigger than the elaborate mises-en-scenes of the Royal Opera House. When they danced Swan Lake, La Sylphide or Giselle, the real story was about them. But more fascinating even than their public performances were the backstage moments and the rehearsals in the spartan spaces where they worked out their magic. Max Mara channels the pair’s unstudied offstage elegance; t-shirts with sleeves rolled up, knotted at the waist or side, layered with knitted debardeurs, wrapped tops, ribbed leggings. From Fonteyn, floaty panels of chiffon. And from Nureyev, mannish tailoring, a Trilby, a loafer
and a lace-up shoe, all in velvet – and a tough looking boot, in cashmere.
Also on the moodboard, there’s a reference to Max Mara’s unique history of creative collaboration. Artist Valery Katsuba’s 2011 photographic project ‘Albatross’ features Bolshoi stars Anna Nakhapetova and Maxim Surov dancing in the legendary 101801 coat. The images inspire an ethereal organza shell for the design icon, and a colour palette that speaks of softness; all the shades of alabaster, cream, powder, rose, lilac, copper, supported by black, white and a dash of rouge. But don’t be fooled; underneath her gossamer silks and cashmeres the Max Mara woman shares the steely determination of those dedicated dancers.