In this collection, flannel dresses, bold skirts, and chic tops harmonize with austere coats and jackets in shades of blue, celebrating the spirit of empowered femininity. The runway promises a captivating blend of sophistication and liberation, echoing the timeless words of Colette’s protagonist: “I love my past. I love my present. I’m not ashamed of what I’ve had, and I’m not sad because I have it no longer”.

Whether intentional or not, Max Mara set a remarkable precedent at its morning show. Due to a traffic accident near Via Piranesi, we found ourselves—much like yesterday morning at Marras—running significantly behind schedule before the first show of the day had even begun. 

Nevertheless, a sizable crowd lingered lazily around the runway, engaged in everything except taking their seats. Then, as the music started and the first model emerged, the photographers (fashion’s unsung heroes) captured the moment. Despite the initial self-absorption of the onlookers, they eventually tuned in. Like a DJ hitting rewind, the Max Mara show finally kicked off.

Ian Griffiths skillfully centered this collection around Colette, often referred to as the Joan Didion of the Belle Époque. He praised “the simplicity of her writing,” noting that she evokes powerful emotions using straightforward language. It struck me that Max Mara achieves a similar effect through its design. Both Colette and Max Mara excel when portraying women who have reached maturity and experience, living life fully and unapologetically. 

Max Mara’s runway unfolded like the final blank page in a story—a collection that exuded both maturity and sensuality. Flannel all-in-one rompers, reminiscent of 1920s camisoles and camiknicker sets, made appearances in black or peeked out from under tailored camel ensembles, paired with tights. The tweed versions featured fagotting-stitch seams adorned with leather edging. A graceful cable-knit gray dress flowed in an elegant arc from shoulder to calf. Meanwhile, narrow skirts boasted triple volants at the back, a recurring detail seen later in the day at Prada and Moschino shows.

Beyond the overtly provocative (by Max Mara standards), there were subtler yet captivating elements. Cashmere pieces sported fetching zigzag finishes, and the long cardigan outerwear knits added an extra layer of allure. Notably, a double-breasted charcoal cashmere overcoat and a full-shouldered black dress with a cinched waist featured cocoon-like back details, drawing inspiration from Griffith’s own wild youth during his graduate collection under Ossie Clark’s guidance. Echoing Colette’s great protagonist Chéri, this collection seemed to declare: “I embrace my past, cherish my present, and harbor no regrets for what I no longer possess.”