At Milan Fashion Week, Max Mara presented a collection centered on timeless, practical clothing designed for mature women, emphasizing wearable elegance over trend-driven spectacle. The show, staged in late September, featured well-tailored coats, sturdy block-heeled boots, crisp white shirts, and spacious suede handbags, reflecting a commitment to clothing that integrates seamlessly into everyday wardrobes.

Ian Griffiths, the British designer who has helmed Max Mara since 1987, underscored the brand’s focus on creating garments that resonate with real women. Speaking backstage, Griffiths highlighted the intention behind the collection: “I hope everyone watching this show can recognise something of themselves in what they see.” He noted that, unlike many contemporary fashion houses that may alienate certain demographics by catering primarily to youth or emphasizing unconventional aesthetics, Max Mara remains committed to inclusivity through well-crafted pieces. “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,” Griffiths said.

The collection’s silhouettes included roomy pleated trousers and skirts tailored to an elegant but practical length, avoiding extremes that might hinder movement. The color palette drew mainly from understated tones—sand, chalk, grey, and black—allowing each piece to be mixed and matched effortlessly. Styling elements such as popped collars and knotted belts added subtle interest without resorting to gimmicks. Griffiths described the runway presentation as a precursor to the real test of the collection, which is how women wear these clothes in their daily lives. “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,” he said.

The inspiration for the season was drawn from pioneering women of the 1930s and 1940s, including aviators Amelia Earhart and Beryl Markham, explorer Freya Stark, wildlife photographer Osa Johnson, and cross-continental driver Eva Dickson. These figures exemplify “nonconformist glamour,” a quality Griffiths sought to channel without resorting to retro stylings. Some models’ hair, styled with a modern interpretation of the victory roll, evoked this era’s spirit without veering into nostalgia. Griffiths emphasized that the collection’s intent was to inspire women to move confidently through their days with “a certain amount of panache,” rather than literally adopting the tools or gear of these historical figures.

Key pieces included chore jackets reimagined as overshirts with four patch pockets, lending a hint of safari-inspired utility, alongside soft, loose-fitting trousers and cross-body bags. The lineup also featured double-breasted blazers and stretchy halter tops cinched with D-rings to combine functionality and style. The collection presented a polished, metropolitan take on the practical clothing many women already wear in cities worldwide, reaffirming Max Mara’s reputation as a brand attuned to the needs of adult women seeking chic yet approachable fashion.