Collection Max Mara
Since its inception, the Max Mara brand has been all about self-confidence, a theme initially expressed by their warm, elegant coats and their boxy yet feminine shape, and that made a flamboyant comeback on the runway of the Italian brand's Autumn-Winter 2019 collection.
While the colour most commonly associated with Max Mara is camel (and all its variations), this time the brand decided to spice things up. With shades of yellow, turquoise and green, the Max Mara look has taken a colourful turn with a range of vibrant hues as well as characterful animal prints, stylish stripes and quirky checks. Their motto: stand out from the crowd. And Ian Griffiths chose just the right place to showcase his explosive feminism-inspired collection: Bocconi University, which specialises in courses in economics and politics, churning out an endless stream of beautiful minds and, since February this year, future CEOs with a look to die for.
The Max Mara label was founded in Reggio Emilia, Italy in 1951 by Achille Maramotti, grandson of designer Marina Rinaldi. Keen to break away from handcrafted creations, the designer focused on offering women mass-produced designer-quality fashion. His pioneering take on feminism homed in on the profile of the businesswoman, offering a glamorous and structured silhouette with sharp shoulders and a high-end finish.
In the mid-80s, Anne Marie Beretta took over the brand’s artistic direction and in 1981 created the iconic 101801 coat, which quickly became a bestseller and still ranks among the label's key pieces today.
Born in England, designer Ian Griffiths has been splitting his time between the United Kingdom and Italy since 1987, when he started out at Max Mara. After studying architecture, he turned his attentions to fashion, studying at Manchester Polytechnic and the Royal College of Art. At the end of the 80s, he tried his luck in a contest organised by the Max Mara brand, and was successfully hired as a junior designer under the direction of Anne Marie Beretta. More than thirty years on, the British designer still works at Max Mara, striving to perpetuate the feminist image that the label has championed since its beginnings.
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