After a quiet season or two, Tomas Maier rebooted his collection with a younger, tougher attitude, with some of the key elements derived from the Italian Futurism movement of the early 20th century. “It’s casual but designed,” said Maier, noting that many of the bomber jackets, trim skirts and poplin blouses had adjustable, transformative details, packing a lot of potential looks into one item. For example, a canvas bomber could be unzipped in the back to be worn off the shoulder; a skirt could be zipped to be worn tighter; poplin shirts had adjustable voluminous sleeves, and pants could be snapped off into shorts.
If it sounds tricked out, it wasn’t — Maier anchored the silhouettes in sporty classics done in dark colors with pops of graphic patterns, such as spikey camouflage, colorful stripes on knit dresses and lots of his signature palm tree print. More simple, and slyly sexy, were thickly knitted, long body-con dresses with cutouts on the sides. Furry clogs, palm tree printed bags and shoes and Maier’s jewelry, which is always a strong point in the collection, here done in bright enamel, added color, texture and a sense of playfulness to the lineup.
For men, Maier injected utility and military heritage references into a large assortment of casual outerwear, pants, shirts and swimwear. The palm tree camouflage pattern worked best in printed leather safari jackets, nylon swimwear and overprinted sport shirts. He also got in on the vintage-inspired track suits moment with a variety of weights, ranging from feather light to thermals. They have a “light and shiny Seventies feel,” he said.