“We think that because we’ve put more features on, that makes us cleverer designers, but in actual fact, maturity in design is the ability to leave them out,” said Ian Griffiths, wrapping up the walk-through of the Max Mara pre-fall 2026 collection.
The lineup he conjured was an ode to simplicity and versatility, with the creative director defining such an exercise as “an act of courage” for those in his same post, as designers often fall into the trap of over-decorating and “complicating things.”
He resisted such an urge, delivering an edited wardrobe of wearable pieces that can be easily dressed up and down, and that magnified the pragmaticism and timelessness intrinsic to the Max Mara ethos.
As per his standard practice, Griffiths relied on cultural references and seasonal muses to convey these qualities. Here, he nodded to modernism and an overall maritime theme as he looked at cruise liners as the purest expression of the modernist aesthetic. Personalities like Nancy Cunard and Dorothy Parker popped on his mood board, but it was the image of the “Transat” armchair by designer Eileen Gray that stood out with its simple-looking yet technically intricate construction.
The furniture piece clicked with the pleated structure of a suit Griffiths designed during his sophomore year at the company, when he was tasked by his then-boss Laura Lusuardi to include lighter solutions in the brand’s fall 1989 collection. As result, he came up with a relaxed, one-button blazer and low-waisted slouchy pants to convey a sense of effortless elegance.
“We considered all sorts of tweaks, but in the end we decided to launch this look into this collection exactly as it was because it seems to have a perfect balance and proportion,” said Griffiths.
He leaned on the pleating technique also for the new designs, encompassing a breezy duster coat, fluid pants, pristine sleeveless blouses to wear with matching bias-cut skirts, and taffeta maxi frocks to style with chunky-heeled sandals or sleek loafers for daytime occasions.
While an archival floral pattern and spots evoking portholes appeared on dresses or a whisper-thin knit, the collection was mainly made up of color-blocked pieces, the best of which were, as expected, the tailored options, such as the Olimpia blazer in a new white version, a pinstripe jersey suit and a light ecru belted coat — highly impactful even with its sparse lines and stripped-down appeal.
