Review of Max Mara Fall 2023 Fashion Show
Fashion in the Age of (Digital) Enlightenment
By Angela Baidoo
Ian Griffiths steadfast dedication to fleshing out a strong narrative for each seasonal outing for Max Mara, results in collections which never waver from the houses’ brand DNA, yet always push forward with a modernity that negates its nearly 75-year history.
Reaching back into the past – the eighteenth century to be precise – Griffiths looked to this time as a reference for its comparable atmosphere of turbulence, “Then as now, everyone was trying to make sense of the world, and everyone had an opinion” according to today’s show notes. Picking up on the work of Émilie du Châtelet, a philosopher and mathematician in her own right, she is often mentioned alongside her scientific counterpart Voltaire, due to their romantic involvement, but her work translating Isaac Newtons The Mathematical Principles of Natural Philosophy still stands as her most recognised achievement, as well as her own magnum opus Foundations of Physics, which “set the tone for rational thinking during the Enlightenment”.
Being inspired by history is very exciting. You teach yourself to be inspired by history, but not develop a BBC costume drama
Ian Griffiths, Creative Director, Backstage at Max Mara
For fall 2023 Griffiths was interested in the way in which this enlightened woman shunned restrictions during her time and took to reimagining what her wardrobe choices would consist of, if she were alive today.
Titled ‘The Camelocracy’, for fall 2023 a rich language of colour was communicated through a palette that revolved around varying shades of the camel tone. From deepest whiskey to the palest gold. And as always in the designers hands there’s an almost magical way in which he is able to bring these most classic of hues to life, and this season it was all about his choice of cosy textures. Chubby shearling, mid-weight wools, chunky ribbed knits and cables, taffetas and satins. There was also the unexpected take on knitwear, which was used as a base for quilted styles, such as a hooded parka and linear stitched puffer jacket.
Always mindful of the broad depth of women that Max Mara touches as a brand, Griffiths noted backstage that the overt displays of sexiness that have been trending since last season were not a consideration, as the brand is about “clothes that give you a sense of feeling comfortable with yourself, clothes that are designed with respect for the person that will be wearing them, Dignity, Respect for women, that’s what Max Mara is founded on”. But there were ways in which he showed the versatility of his designs, whether for a woman in her mid-twenties, or someone seeking more modest looks. Knitted maxis were designed asymmetrically and draped over one arm with a cardigan that could just as easily be used to layer for a modest take. It’s a smart designer who takes into account the regions they sell into and the local dress codes. On this the designer noted “It’s always important to think of a way of dressing that can be adapted according to who you are and where you live”. Another case in point were the sheer high neck knits worn provocatively sans-bra in the closing looks, but also paired with a leather bustier or belted cardigan, as the designer said it’s about adaptability and allowing the wearer to customise and build their wardrobe for their day-to-day life.
His foray into this particular historical period manifested into a very forward-thinking take on last season’s pannier skirt. Rendered in a brocade there was none of the stiffness typically associated with this style, and as would have been missing at the time, but would have been inherently appreciated, Griffiths added in pockets and drawstrings for a sportier iteration that reflects the times. A more uncommon detail, the ‘Watteau Back’ is one which adds a soft structure to the back of a garment in the form of soft folds, which the designer discussed backstage how they were “derived from court dresses from the eighteenth century”. And in this collection it was featured on high-low cocktail dresses and a military greatcoat.
It’s always important to think of a way of dressing that can be adapted according to who you are and where you live
Ian Griffiths, Creative Director, Backstage at Max Mara
Creating his own cast of characters, reminiscent of those who may have frequented the male-only coffee houses to disseminate information and debate the most radical ideas of the day (Émilie herself had to disguise her appearance, and adopt that of a mans to frequent said coffee houses), we got updates of dukes in grand cloaks, debonair officers with capes worn on one-shoulder, and the notary, whose hair was tied with a black ribbon. The subtlety of Ian Griffiths application of his source material, in today’s case an eighteenth-century vanguard, never feels like a costume drama as the designer takes on the ideas and attitudes of the women he references and filters them through his modern lens for today’s Max Mara customer.