黑帽SEO快排绑定|【唯一TG:@heimifeng8】|Telegram账号盗取破解技术✨谷歌搜索留痕排名,史上最强SEO技术,20年谷歌SEO经验大佬✨Max Mara: "Wuthering Heights" in Lombardy
Godfrey Deeny Published
February 27,黑帽SEO快排绑定 2025
Few novels have ever fueled creative juices as much as Emily Brontë's "Wuthering Heights," the inspiration for Max Mara's latest hyper-composed collection, shown Thursday morning in Milan.
Max Mara is the second house to riff on Brontë's classic Gothic romantic tale this season, following Altuzarra in New York two weeks ago. While Joseph Altuzarra envisioned his heroine navigating the urban jungle with grace, Max Mara's Ian Griffiths created clothes for "a woman navigating the corridors of power, not the Yorkshire moors."
Though there remained a sense of protection from the elements—and even the envy of other women—the cast strode with utter assurance around four catwalks inside Palazzo del Ghiaccio, a massive ice rink in east Milan.
"It was all about the Brontë sisters this season. I just woke up one morning and wanted to design big skirts. I thought, what story can I apply to that? And their mood was so right," added the designer.
Griffiths' own mood board was filled with reminders of "Wuthering Heights"' power. It featured images of ballets, Pre-Raphaelite icons, and BBC dramas, along with a portrait of Julia Margaret Cameron, the celebrated Victorian photographer. Her soft-focus, allegorical images, shot with long exposure, evoked the novel's two protagonists: Heathcliff and Catherine Earnshaw.
Determined not to create costumes for a period drama, Griffiths took a resolutely modern approach. He developed new-format redingotes, either highly deconstructed or morphed into a gilet, and sent out several cashmere coats with kimono sleeves.
He cut cathedral-high skirts with soft pleats, cinched high at the waist with sturdy double belts, and paired them with mohair and cashmere cardigans that extended below the knee. Griffiths also reimagined the Victorian shawl, transforming it into oversized ribbed wool shawl collars or adding cowls to topcoats.
He also introduced unexpected fabrics, such as shearling reversed with a quilted lining—seen in a standout coat with lambskin sleeves.
His color palette was monochrome and precise—cappuccino, beige, burgundy, or cement. The cast exuded confidence, empowered by the refined sophistication of the collection, walking to a soundtrack that blended elements of a Mendelssohn violin concerto.
"It's all about a woman who has applied herself with cold logic to climb the corporate ladder, denying herself her inner passion. In today's world, it's as if she must find her own expression. And so, the Brontës," explained Griffiths, dressed in his latest handmade chalk-stripe suit.
Next stop—not the Yorkshire moors, but Italy's answer to Versailles, the Royal Palace of Caserta, for Max Mara's next cruise show.