Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
Max Mara, the king of coats, is not a company we normally think of when it comes to print. But the Italian powerhouse went all out on pattern for spring and the results were refreshingly on point. The success here had to do with a strong, tightly edited theme that started with black and white micro feather prints and evolved - subtly and smoothly - into compact florals and slightly larger geometrics. The pattern packed a modern graphic punch in its infinite - but surprisingly wearable - layers. Printed ponyskin skirts were worn with matching printed silk georgette blouses, and finished off with printed boots and folded fisherman's hats. The coordinated sets had a certain bourgeoisie stylishness but that didn't mean Max Mara ignored its core no-nonsense consumer. There were plenty of military blouson jackets, nipped waist blazers and three-quarter length skirts to wardrobe the waves of working women next spring.
Photography: Jason Lloyd-Evans
