Max Mara Spring 2026 Collection
Instead of focusing on Marie Antoinette, Ian Griffiths turned his gaze to another figure of 18th-century French court life: Madame de Pompadour, renowned patron and emblem of Rococo style. This choice allowed him to explore an intriguing dialogue between eras, staging a collection that oscillated between the opulence of the 1780s and the sleek restraint of the 1980s.
The runway opened with a sleeveless trench dress featuring ruffled shoulders, followed by a sharply tailored pantsuit. Together, they reflected Griffiths’ interplay of Rococo exuberance with echoes of David Bowie’s Pierrot costume, which shared space on his backstage moodboard with portraits of Pompadour.
Though heavy with historical allusions, Griffiths made his intent clear: “We’re not making a BBC period drama; we’re creating modern fashion for modern women.” That philosophy translated into body-conscious knitwear, cropped jackets, halter necklines exposing shoulders and backs, and harness-style elastic details defining the waist.
The palette leaned heavily into camel and beige, only occasionally interrupted by delicate florals or ghostly marine motifs, underscoring the house’s commitment to a more minimalist aesthetic amid Milan’s current maximalist wave. Yet, Griffiths injected organza garlands, fabric petals, and layered ruffles at shoulders and hips, infusing the collection with a fresh Rococo edge.
Unexpectedly, there were few coats—the brand’s historic backbone—but the short trench coats and fitted suits are sure to resonate commercially. What emerged was a vision of Max Mara that felt lighter, sensual, and contemporary, perfectly attuned to modern women’s need for versatility and sophistication.
Adding a personal note, Griffiths recalled his very first party outfit from the 1980s, hand-sewn from lining fabric on his mother’s machine: a broad-shouldered look with a whimsical frill, bridging the flamboyance of Bowie with the elegance of Pompadour, and encapsulating the dual spirit of this collection.
