Max Mara unveiled its women’s spring/summer 2027 collection at Milan Fashion Week, presenting a wardrobe that prizes wearability over spectacle. Designer Ian Griffiths, who has guided the Italian house since 1987, said the show aimed to let every viewer see a reflection of themselves in the clothes. Drawing inspiration from pioneering women of the 1930s and 1940s, the line offered chore jackets, loose‑fit trousers and versatile separates that could move effortlessly from runway to city street.
A Return to Timeless Wear
The collection deliberately avoided shock value, focusing instead on well‑cut coats, sturdy block‑heeled boots, crisp white shirts and capacious suede handbags. Griffiths explained that the goal was to create pieces that work with an existing wardrobe rather than demand a completely new one. “I hope everyone watching this show can recognise something of themselves in what they see,” he said, adding that fashion too often alienates people by making them feel they are not thin, young or good enough to wear what is shown.
He stressed that the catwalk is merely a prelude to the real presentation: “The catwalk show is only the prelude to what to me is the real presentation, which is when I see women walking down the street in my clothes.” This philosophy underpinned every silhouette, from pleated trousers to skirts long enough to be elegant but short enough to avoid tripping.
Inspiration from Trailblazing Women
Griffiths’s moodboard for the season featured portraits of aviators Amelia Earhart and Beryl Markham, explorer Freya Stark, wildlife photographer Osa Johnson and cross‑continental driver Eva Dickson. He described their “nonconformist glamour” as the guiding spirit behind the collection. While some models wore their hair swept up in a tousled take on the victory roll, the look remained modern rather than twee or retro.
He was quick to clarify that the reference was not literal: “I’m not suggesting for a minute that women fill the pockets of their organza cargo vests with notepads and compasses and explorer’s instruments. It’s the idea of getting up in the morning and going places with a certain amount of panache.” The clothing itself translated that spirit into wearable forms — chore jackets, loose‑fit trousers, cross‑body bags and shirting that already populate wardrobes worldwide.
Details that Define the Collection
Overshirts with four patch pockets took the chore jacket concept and added a dash of safari‑jacket exoticism. Stretchy halter tops were cinched with D‑rings, while double‑breasted silhouettes emerged as dashing blazers. Trousers were pleated and roomy; skirts struck a balance between elegance and practicality. The palette stayed grounded in sand, chalk, grey and black, ensuring each piece could be mixed and matched with ease.
Styling gestures — such as a popped collar here or a knotted belt there — stopped short of gimmick, reinforcing the idea that the clothes are meant for real life, not just the runway. Griffiths noted that the house’s founding mantra of “real clothes for real women,” dating back to the 1960s, remained the compass for this season: “We were founded on the simple mantra of real clothes for real women, back in the 1960s, and when we stick to that idea, we never go wrong. So more than ever, I wanted to focus on real life chic.”
Why it Matters
Max Mara’s pivot back to timeless, wearable fashion signals a broader industry shift toward inclusivity and practicality, especially as consumers grow wary of fleeting trends that promote unrealistic body standards. By grounding its spring/summer 2027 collection in the spirit of historic female trailblazers, the brand not only offers a versatile wardrobe but also reinforces a narrative where style empowers rather than excludes. This approach could influence other luxury houses to reconsider the balance between aspiration and accessibility, ultimately reshaping what luxury means for the everyday woman.
