Runway
The driving force behind Maison Mesa's latest collection is a clear, rebellious ethos: "I'm No Angel." For anyone who grew up in the 90s, this collection is a masterclass in the exact "don't give a f***" attitude we all longed to pull off. It treats elegance as something that can be put on—and taken off—at a complete whim.
Updated 02:59 pm EDT, April 3, 2026
Published 05:58 am EDT, April 3, 2026
Photo Courtesy: © IFEMA MADRID
The driving force behind Maison Mesa's latest collection is a clear, rebellious ethos: "I'm No Angel." For anyone who grew up in the 90s, this collection is a masterclass in the exact "don't give a f***" attitude we all longed to pull off. It treats elegance as something that can be put on—and taken off—at a complete whim.
Updated 02:59 pm EDT, April 3, 2026
Published 05:58 am EDT, April 3, 2026
Photo Courtesy: © IFEMA MADRID
The ethos for Maison Mesa’s collection for Madrid Fashion Week is, “I’m No Angel.” As someone who grew up during the 90s, all I can say is that I would have absolutely looked longingly at this collection and wished that I had the “don’t give a fuck” attitude to pull it off. The baddest—and most forbidden—Hollywood star, Mae West, was the main inspiration for this season.
There’s a wonderful dichotomy between the pieces themselves and how they’re worn. One of the first pieces is a beige sweater with a deceptively sweet pink floral print. The waist of the sweater is pleated; however, pulling it in. It’s paired with a delicate pastel pink pencil skirt with a kicky ruffle at the hem, making the entire silhouette one of dangerous curves.
Silhouette plays an important part in the whole collection, elevating it from ordinary to striking. A silver sequined gown embraces the upper arms and barely covers the breasts, leaving the central midriff and shoulders exposed in a sort of question mark, as if to ask, “Why not?”
There’s an interesting focus on legs and arms as a whole with this line. Many ensembles are shown with gloves (Sidenote: bring back wearing gloves as part of an outfit!), which not only influences the line of the arm but also gives a fantastic opportunity for a pop of color. For instance, a sapphire blue sweater worn with a bubblegum pink pleated skirt is paired with a pair of pink slouchy leather gloves. It’s an outfit of contrasts, from the fitted sweater to the voluminous skirt and gloves.
In continuing with the playing with shape and fit, a purple plaid dress features a stunningly fitted bodice with large bishop sleeves, but fitted forearms. The lower half is fitted as well, with a slightly dropped waist and that flirty ruffle at the hem making another appearance. The contrast within the dress of fitted and un-fitted plays with the eye, demanding that curves be noticed.
The evening wear section was an absolute treat overall, especially as someone who loves vintage looks. It isn’t just retro gowns that the designer reached for, either: A beaded pink sweater with bishop sleeves is paired with a pair of high-waisted pink sequined shorts, which are very reminiscent of old Hollywood dance numbers. It’s casual elegance that practically screams playfulness with the use of color and sparkle.
That’s actually a fairly good summation of the entire collection—a playful romp through what is considered risqué or sexy, and asking us to consider why it is so. Sweaters are treated with the same seductive quality as a translucent chiffon gown, and elegance like something someone can put on and take off at a whim.
Jordan emerged from a cornfield in Indiana in 1986. She went on to gain education in history, art history, and literature. She has predominately made a living writing for a variety of media, as well as a dress/fashion historian. She currently resides in a bog in Sweden and emerges every so often to forage for cheese and point at dogs.
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