The Max Mara Spring/Summer 2026 collection walked a careful line between history and modernity, turning to Madame de Pompadour for inspiration while keeping the focus on women today. Griffiths viewed Rococo not as a costume drama, but as a lens through which to explore tailoring, sensuality, and self-expression.
The show opened with a sleeveless trench dress with sculptural shoulder details, followed by a sharp pantsuit. This contrast made clear Griffiths’ intention: the eighteenth century could spark ideas, but the result had to feel current. He paired flounces of chiffon with cropped jackets and pencil skirts edged with organza petals with form-fitting knitwear. The mood shifted constantly between refined tailoring and daring silhouettes.
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Much of the collection was about exposure. Bare shoulders, cropped torsos, and abbreviated hemlines dominated, interrupted only by harness-like elastics across waists or halter-style designs. The looks suggested both restraint and release, appealing to women who want structure with a sensual edge. While the house’s signature coats were not the star of the show, cropped trenches and slim suits held their ground and are poised to draw interest.
Color stayed mostly muted. Beige, camel, and pale neutrals set the tone, with printed chiffon florals and delicate undersea motifs occasionally interrupting the palette. This decision placed the collection firmly on the side of pared-down clarity rather than lavish excess, even as Rococo references rippled through the shapes and trims.
Griffiths reminded the audience that the Rococo style also influenced his New Romantic style in the 1980s. The show’s closing looks nodded to that connection: one was a form-fitting, knitted gown adorned with frills; the other was a cropped ensemble adorned with black silk petals. Both pieces captured the collection’s dual spirit of fantasy and pragmatism.