Max Mara Spring/Summer 2027
Ian Griffiths returned Max Mara to one of fashion’s most persistent fantasies for Spring/Summer 2027: the safari wardrobe. But rather than treating it as pure nostalgia, he approached the idea through what he calls “utility lux”, building a collection around garments designed to make the wearer feel equipped for the day. Safari jackets, cargo vests, trenchcoats and oversized pockets become the vocabulary, while references to the adventurous women of the 1930s — Amelia Earhart, Beryl Markham, Freya Stark and Osa Johnson — give the clothes a sense of movement and independence. The result is quintessentially Max Mara: controlled, practical and largely uninterested in chasing the season’s louder trends.
The utility details are most convincing when they actually influence the silhouette. Large bellows pockets are integrated into tailored jackets, tunics and skirts, while wide leather belts, military straps and cross-body constructions add another layer of functionality. A dark olive maxi skirt with substantial cargo pockets and suede boots has the severity of a uniform without losing its elegance. Elsewhere, safari shirts become dresses, trenches are layered over lightweight tailoring and wide pleated trousers give the wardrobe a sense of movement. There is a fantasy at work, certainly, but the clothes remain grounded enough to function beyond the runway.
Fabrication is where the collection quietly demonstrates Max Mara’s technical confidence. Heavy linens and lustrous gabardines are manipulated to resemble leather, while slinky knit dresses retain their sensuality without relying on excessive transparency or body-consciousness. The more overtly functional pieces are balanced by cut-out backs, halternecks and fluid silhouettes, while black organza turns cargo trousers and a flight suit into something considerably less practical and more evening-oriented. It is a useful reminder that Griffiths is not really interested in literal utility; he is interested in the psychological reassurance of clothing that looks as though it could handle anything.
That idea is ultimately what holds SS27 together. Griffiths describes the clothes as “equipment for living”, and the collection is at its strongest when that philosophy is allowed to replace seasonal novelty. There are no obvious attempts to manufacture a viral moment, and even the safari references are treated with restraint rather than costume. The risk is that the Max Mara woman can become such a fixed character that the clothes occasionally feel predetermined, but there is also confidence in knowing exactly what the house does well. SS27 does not reinvent Max Mara; it reinforces the argument that good clothing should make life feel slightly easier — even if the biggest problem the wearer faces is deciding which oversized pocket to put her sunglasses in.
