By I. Hansana, Jadetimes News
Over the past two years, fashion brands have heavily leaned into the concept of quiet luxury. However, Max Mara's creative director, Ian Griffiths, boldly diverged from this trend with a vibrant collection presented in Venice on Tuesday evening. Griffiths criticized the overwhelming prevalence of quiet luxury, suggesting it has led to a pervasive silence in fashion.
He questioned its subtlety, remarking, “I’ve always slightly objected to the idea of quiet luxury anyway because I don’t know how quiet it is. How quiet is it to walk into a room wearing head to toe total camel?” Set against the stunning backdrop of the Palazzo Ducale with views of St Mark’s Square, Max Mara's resort collection maintained its signature camel shade. However, this time it was adorned with:
Sequins
Brocades
Shimmering jacquard silks
These elements were reminiscent of the opulent Fortuny fabrics that Griffiths described as originating from “the birthplace of luxury.” The collection drew inspiration from Marco Polo, the Venetian explorer who chronicled his journeys through Mongolia, China, India, and Africa.
Griffiths marked the 700th anniversary of Polo’s death with a show celebrating Venice’s historical role in global trade and cultural exchange. Despite its historical references, Griffiths emphasized that the collection was not a costume drama. “The whole point is to create a modern wardrobe,” he explained.
The designs included mini embroidered shift dresses, sharp tailoring, chunky knits, and open neck shirts with sporty necklines. Many pieces were cinched at the waist with woven tassel belts, reminiscent of accessories depicted in the paintings of Venetian masters Titian and Tintoretto. The collection also featured the iconic sweeping camel coats that have been a Max Mara staple for seven decades.
From the front row, British television presenter and model Alexa Chung praised the brand, noting, “I genuinely wear their coat all winter. Max Mara is a no brainer, problem solving, gorgeous, perennial [brand].”
Griffiths, who celebrates 37 years with the 75 year old Reggio Emilia based brand, is one of the few luxury fashion designers with such a long and distinguished tenure. He is focused on attracting a younger audience, saying, “For my own sanity, I want to speak to young people. I feel much happier speaking to younger people and people my own age certainly.”
A former club kid in 1980s London, Griffiths has retained the creative zeal of his youth. This collection saw him collaborate with a textile graduate to recreate prints from his 1985 sketchbook when he was an art student at Manchester Polytechnic. He also realized a lifelong ambition by working with milliner Stephen Jones, who was his idol during that time.
Their collaboration underscored the importance of timelessness a principle that Griffiths and Max Mara have long championed. “It’s good to be fashionable, but what happens if you’re not? If you have a product which has relevance, whether or not it’s fashionable, then you’re in a much healthier place,” Griffiths remarked.
He stressed the importance of maintaining consistent desirability with a touch of fashion forwardness, warning against chasing fleeting trends. “For the whole brand to suddenly jump from one boat into the fashion boat would be a mistake. It’s not where we came from, it’s not what we’re about and it’s a very, very dangerous game over the long run.”
