Max Mara revives the Belle Époque


Flowing silhouettes, understated hues, a masterful balance of severe lines and seductive accents. Max Mara's aesthetic for the coming winter season is imbued with an aura of impeccable elegance. The Fall/Winter 24/25 fashion show, which featured creations by Ian Griffiths, draws on the works of the eclectic artist Colette, one of the most relevant figures of the first half of the 20th century. Modern, understated, yet deeply evocative: Colette represents to literature what Max Mara is to fashion.


Belle Époque elegance, sealed by images from black-and-white photographs, along with a touch of demi-monde glamour and sensuality define Max Mara's "woman in control." The Japanese-influenced silhouette of the 1910s inspires new coats, sometimes with kimono sleeves, at others with ample volume at the back. The new icons are made of compact cashmere melton and double-woven camel and alpaca, or knit with laser-finished edges.


The waist is emphasized, gracefully and evoking sophisticated comfort, by wide knit bands matching thin belts, which wrap without constricting as if they were an obi. Seductive camisoles and slipdresses, in flannel and tweed with exposed seams, become an intriguing counterpoint to Max Mara's urban look. Jackets, ever-present, along with cabans and austere coats pay homage to the style of Colette, who often loved to dress as a man. At the same time, delicate ruffles lend new femininity to skirts and tunic dresses.


The palette offers dark inky navy and cobalt to go with raven black and smoky gray. There is no shortage of hints of ecru and warmer shades, paired with the faithful and irreproachable black. Soft leather bags with stylized clasps, loafers and fringed lace-ups complete the looks. When making the transition to evening, the lines remain true to themselves, but are pervaded by shimmering crystals, arranged according to a strict geometry. The perfect look for a night without excess.

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