Maxfowles Spring 2013

It’s been a while since I’ve actually talked about something fashion-related. And if you follow me on Instagram, you’ll probably know that I’m not quite the typical fashion blogger (my occasional OOTD/OOTN’s are anything but fashionable; they’re quite normal, boring, even). I much prefer to write about fashion than be about it.

Truth be told, I haven’t been paying much attention to the last season or two, and even less so on any emerging talent. Nothing has really caught my eye until I came across this Refinery29 interview on the Maxfowles designer duo, who are, incidentally, real-life lovers. I never counted myself as the romantic type, but it’s an endearing fact regardless: the two met at a dental office, where Max was one of Parisa’s clients. (And it the rest is history.)

In said interview, the two described the Maxfowles girl as “anyone who loves fashion and wants to be part of a lifestyle brand that makes them feel luxurious.” It’s vague, and hardly does the brand aesthetic justice. She’s in her twenties, this Maxfowles girl. Fun-loving, and living life—but she’s a bit reserved for her age. She’s serious about her career, but not afraid to make mistakes. She loves a night out with the ladies, but keeps the hemlines at the knees and drinks to a minimum (greyhounds and martinis are her go-to’s). She’s pretty, she’s a bit feminine, but definitely not girly; you wouldn’t call her androgynous, though. The Maxfowles’ girl has a whole other spirit that separates from the usual masses of Alexander Wang meets Helmut Lang’s, and Oscar de la Renta meets Carolina Herrera’s of the metropolitan stomping grounds. She’s practical but chic. Or is she chic, but practical?

The answer is in the simple silhouettes. I love the bold color palette of Maxfowles’ spring/summer 2013 collection; it’s a welcome departure from the usual pastels or neon brights that hit the catwalks. A scheme of primary shades, offset by whites and the occasional black, offer playful sophistication and minimalism in a sea of florals. It’s sharp, it’s clean, and it means business (all the while reminding us of our grade school days)—and when used with such basic cuts, timeless pieces become classic statement pieces for every woman’s wardrobe.

The colorblocking keeps things youthful, and the monochrome looks ups the Maxfowles’ girl’s sophistication game. From sportswear to workwear, to cocktail and a Friday night out, this is truly an all-encompassing collection. Every detail of a woman’s life is thought out: it’s an ideal representation of a well-curated wardrobe. The pants—that white jean with the royal blue inserts, and the red, straight-leg trouser (!)—are everything… but those dresses! I’ve fallen in love with the A-line dress for its effortlessness; it’s forgiving on the female figure, and undoubtedly so the epitome of 50s femininity. The Maxfowles update, however, gives sweet a little bit of sass with a sleeveless cut and daringly deep V.

The textured LRD (Little Red Dress) is quite Oscar de la Renta, version 2.0; I love the idea of wearing it with a white d’orsay pointy-toe pump, clean face (read: no makeup, just curled lashes), and a sleek high pony. As for the leather version, it’s begging to be paired with the same sleek pony, but with suede, royal blue lace-ups (there’s a particular Dior I have in mind) instead. I’m a fan of clean face with such a sweet silhouette, but to up the ante, add few coats of lengthening mascara—we want the doe-eyed look) and a matte bronzer for well-contoured cheeks.

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Shop it here, or here.

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