Max Mara’s presence to revel in the extended daylight of the Northern hemisphere. The splendid resort show unfolded in the prestigious City Hall’s Blå hallen, the very venue that hosts the esteemed Nobel Banquet each year. Griffiths’ contemplative demeanor beautifully mirrored the sun-kissed reflections dancing on the serene Baltic waters outside.
Max Mara, founded in 1951 by Achille Maramotti as a women’s wear brand to empower economically emancipated females, had a strong feminocentric origin story for this collection. Griffiths combined elements from Vikings and folklore, Queen Christina of Sweden, Ibsen’s female protagonists, Stockholm notables, and Selma Lagerlöf, the first woman to win the Nobel Prize in 1909 for her writing.
Griffiths is known for composing narratives from diverse sources and creating cohesive collections that appeal to a wide audience. Despite the complexity of the inspiration, the clothes exuded lightness, sophistication, and youthfulness, departing from the usual Max Mara style.
The collection was predominantly rendered in Ingmar Bergman monochrome, except for the final section. Folkloric elements ranged from cozy hygge to pagan influences. Signature house cashmere coats featured drawstring cord belts and playful pompoms.
Off-the-shoulder dresses with shirred midsections and voluminous sleeves and skirts evoked a pre-Raphaelite charm, reminiscent of the enchanting Eleonora Duse. Modern touches included slim-fitted vests, trousers, silk shirts, and boxers, all paired with elevated flat boots that ran through the collection.
The show concluded with a floral display representing the seven flowers traditionally collected on Midsummer’s eve to learn the identity of one’s true love through dreams. Embroidered or showcased in jacquard, these floral motifs adorned organza shirts, suits, vests, and full dresses, each one uniquely captivating.
The resort shows
credit: vogue | BY LUKE LEITCH
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