French writer Sidonie-Gabrielle Colette’s combination of masculine style and feminine energy was the root of Ian Griffiths’ Max Mara show. The designer quoted Sleepless Nights in the press release and drew parallels between Colette’s style of writing and Max Mara’s style of designing. “It’s spare, clean,” he observed, “and yet somehow, we’ve managed to pull on those heartstrings the clothes have a kind of soul.”

He focused on silhouette noting, “It used to be something we talked about much more.” Floor length coats with balloon backs were worn over winter shorts and turtlenecks. Trousers were swagged at the waist, pea coats were gently pumped in proportion and oversized cashmere shirts doubled as dresses signalling a lighter approach to outerwear that’s somewhere between a coat and a cardigan.

The focus on shape and proportion brought an equal focus on colour: navy, black grey. “I could not have done those silhouettes in camel. They just don’t work,” explained Griffiths, who only showed a handful of looks in the house colour.

Colette influenced the casting, too, with Griffiths choosing characterful faces. He, described Gemma Ward and Guinevere van Seenus as women who’ve had a life, who’ve had a career since they first became stars… who’ve come back to us to give us their experience.” On the catwalk they looked confident and at ease with themselves in their beautifully considered clothes. The attitude was pure Max Mara.

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