Tomas Maier summoned a mood of late Fifties and early Sixties suburban idyll with his subdued spring collection. A man in a gray suit toting a black briefcase opened the show, cueing a series of other ashen office types.
While trim and conservative at first glance, the tailoring gradually became more inventive. Some suits accrued workwear details, crossbred with garage-man or golf jackets, while others had lapels and handkerchief pockets outlined in chalk stripes that were actually painted on.
Maier then moved on to the country club and the backyard barbecue. He cut handsome camp shirts generously in creamy cottons, and applied the same chalk-stripe details to black polo shirts, piping the collars and plackets. A series of pullovers in windbreaker-thin suede were impressive, resembling jockey silks.
Color-blocked cardigans and diamond-patterned crewnecks resembled period Father’s Day presents.
The show climaxed with a series of pants, polo shirts and shirts mixing bold windowpane and other checks. There was an ultra-cool Vegas Rat Pack vibe throughout, heightened by “So What” by Miles Davis on the soundtrack. But while Maier ticked off a lot of trends gathering steam in Milan — shirt-like jackets and autumnal colors among them — the show could have used a bit more oomph.