On January 2020 in Milan, Ian Griffiths' Autumn Winter collection brought the call of individual style this season. Rather than sending out a color-blocked army, as Max Mara is wont to do on the runway, each model was styled with her own personality, without silly props like officer’s hats and neckties. It made all the difference: less corporate, more contemporary.
He used a black, blue, charcoal and camel palette and a self-described sense of adventuring “from Morocco to Murmansk,” to loosen up the signature house tailoring and outerwear with romantic flounces and frills just short of swashbuckling. The result was dreamy but pragmatic, and touched on many of fall’s emerging trends — oversize, classic dressing and power sleeves among them.

 

Italian show producers, Random, reached out to a creative studio I was creative producer for at the time in London, Satore, to implement lighting design for the show. Our brief entailed lighting design that would emphasise each look from the collection. The lighting was a minimalistic take on the grand space that already was lit by the natural light coming in from the ceiling. The light brought a modern atmosphere to connect with the collection. So we intervened the space with a bright mood defined by lights that gave glamour the show.