As one of fashion's longest-serving creative directors, Ian Griffiths always manages to find new things to say at Max Mara, or leave unsaid. This season he left the brand's signature camel tone in the background and let a host of dark blues, grays and blacks cast a spell of soigné sobriety.
This was a melancholic spectacle that nonetheless struck with its sinuous or enveloping dropped-waist shapes reminiscent of the 1910s and 1920s. The clothes radiated luxury, dignity and self-awareness.
Griffiths chose a group of veteran models, including Guinevere van Seenus, Gemma Ward and Natasha Poly, to underline this last quality. “There's something great about a woman who knows herself,” she reflected.
French author Colette, who also extolled the pleasure of dressing to please one's mature self, dominated the backstage mood panel. Griffiths praised the sobriety and economy of her writing, which “in that sense corresponds to Max Mara's design.”
To wit: the designer achieved Belle Époque charm through full kimono-like sleeves, flared backs, and low-buttoned stances on coats; with a tie waist on pants and wrap skirts, and with utility pockets and channeled necklines on tunics. There was also an understated sensuality that came through in their tight turtlenecks, lingerie-style rompers, and the thin obi-like belts that defined their waists.
Knitwear is emerging as Milan's big story and Griffiths is on-trend with the trend, opening her show with a long, wrap-around navy coat edged in pink, followed by a slew of wraparound sweaters and outerwear with the cozy appeal of an oversized cardigan. .
Almost hidden among the photos of Jacques Henri Lartigue and Peter Lindbergh in the mood board were two looks from Griffiths' graduate collection, whose very full sleeves he repeated on coats, tops and sweaters in his fall 2024 effort for Max Mara.
“One of the pleasures of fashion is that we can revisit inspiration,” he enthused. “And when we look at it, it turns out totally different. “Evolve.”
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