Ian Griffiths has called pre-fall “a collection on simplicity and versatility, two ideas in love, yet few designers dare to truly embrace. Fashion has a habit of mistaking complexity for sophistication.” “Designing something simple that people actually want to wear can be one of the hardest tricks in the book.” In architecture, he argued, no one would ever suggest that a minimalist like John Pawson was somehow less talented than the designer of the Gothic Follies. “Decoration in architecture is hardly the badge of good design, often quite the contrary. Fashion, however, loses its nerve, turning to ornament instead of relying on restraint.”
Max Mara has been consistently true to the principles of practicality, quality, wearability and good design since its inception. “At a moment when the world is becoming increasingly clear, our customers, who are successful, busy women, want edited choices: fewer pieces, more possibilities,” Griffiths said.
Modernism as an inspiration has always suited Max Mara: lean, uncomplicated lines, no decorative flourishes, and never construction for construction’s sake. The house’s aesthetic has evolved over time, but its core has barely changed, and this continuity has become the starting point of the earlier collapse. Champions of the modernist aesthetic like Nancy Cunard and Dorothy Parker were on Griffith’s mood board, while a dive into the archives revealed a 1989 jacket that could still fit into a modern wardrobe. Paired with slouchy, low-waisted pants, it became a template for the collection’s uncomplicated, sleek look as a reminder that “good design ages better than trends.”
Presented in deep blue and white, the edgy collection stuck to Max Mara signatures: impeccably tailored yet fluid pantsuits; Bias cut dresses that glide from day to evening. Single counterpoint as a graphic abstract flower; And deployment pulses to add a dash of mobility. Griffiths continues Max Mara’s creative direction for an impressively long stretch. When asked about the current state of fashion, measured by his specialty, he still said he doesn’t expect to remodel a house in any season. “It takes time to understand a brand, its heritage, values and visual language to truly compete, and quickly risks losing what matters most.” “Often now, you see the designer before you see the brand,” he said. “At Max Mara, it’s never been about showing personal flair or flair, but about the house itself,” he remarks. He suggests that this restriction takes trust, perhaps earned by one’s longevity. After a tumultuous season crowding the debut, the hope is that things settle down, and enduring brands are once again allowed to speak in their own, unique voices.
