{"id":4414,"date":"2026-10-09T12:51:29","date_gmt":"2026-10-09T10:51:29","guid":{"rendered":"https:\/\/malne.es\/?p=4414"},"modified":"2026-10-09T12:51:34","modified_gmt":"2026-10-09T10:51:34","slug":"la-femme-malne-mbfwmadrid-ss27","status":"publish","type":"post","link":"https:\/\/malne.es\/en\/mundo-malne\/la-femme-malne-mbfwmadrid-ss27\/","title":{"rendered":"La Femme: Malne brings a declaration of love to fashion to the MBFWMadrid SS27 edition 1A2W67"},"content":{"rendered":"

Madrid once again became the stage for Spanish fashion this September. In an edition of the Mercedes-Benz Fashion Week Madrid<\/strong> which extended its parades to different locations throughout the city, Malne<\/strong> presented on September 17th The Woman<\/strong>, her Spring-Summer 2027 collection, at the Communication and Arts Campus of Nebrija University.<\/p>\n\n\n\n

The location was no small detail. Bathed in the cloister's light and nestled within the brick walls of the old convent, the collection found a stage far removed from the usual neutrality of a runway. There appeared the women who inhabit the new universe of Paloma \u00c1lvarez and Juanjo M\u00e1nez: elegant, theatrical, classic at times, exuberant at others, and, above all else, aware of the expressive power of clothing.<\/p>\n\n\n\n

The title of the collection sums up the whole intention: The Woman<\/strong> It is a look at femininity through fashion and, at the same time, a love letter to those women who for decades have been more than just models, actresses or companions of great designers: they have been muses capable of transforming a garment into an attitude and a style into a way of being in the world.<\/p>\n\n\n\n

The muses as a starting point<\/h2>\n\n\n\n

The Parisian muses In\u00e8s de La Fressange, Loulou de La Falaise, Fran\u00e7oise Hardy, Audrey Tautou and Marion Cotillard<\/strong> They appear at the origin of the collection. Five names belonging to different generations, united by a relationship with fashion that has never depended solely on following a trend. La Femme is a a manifesto of love for fashion and its muses<\/strong>, built around that encounter between timeless classicism and a freer, bolder elegance.<\/p>\n\n\n\n

However, it's not about replicating any of their wardrobes. The reference becomes much more interesting when understood as a reflection on what makes a woman a style icon.<\/p>\n\n\n\n

That idea runs through much of Malne's work. Fashion appears here as a tool for constructing identity, not as a series of codes to be obeyed. In fact, Paloma \u00c1lvarez<\/strong> She explained after the show that the collection features very different women because femininity allows for "many possibilities," from romantic or classic profiles to others that are deliberately more groundbreaking.<\/p>\n\n\n\n

Paris, beyond the clich\u00e9<\/h2>\n\n\n\n
\"Polka<\/figure>\n\n\n\n

The Parisian reference runs<\/strong> The Woman<\/em> without turning it into a nostalgic exercise. Paris appears as a fashion culture: the ateliers, the great houses, the tailoring, the muses and that tradition according to which the designer did not only dress a body, but built an image together with it.<\/p>\n\n\n\n

The parade began with the voice of Brigitte Bardot<\/strong> and the main theme of \u201cAnd God created woman\u201d (Et Dieu\u2026 cr\u00e9a la femme, 1956)<\/em>, From the very first seconds, the collection established its territory. From there, echoes of French influences emerged: polka dots, animal prints, floral motifs, and a certain French theatricality that Malne channeled into her own unique style.<\/p>\n\n\n\n

The difference lies precisely there. The Woman<\/em> It doesn't try to turn Madrid into Paris. It takes some of the great codes of French fashion history and applies them to a house that has spent a decade developing its own proportions, shoulders, waists, and volumes.<\/p>\n\n\n\n

From black to a particularly chromatic collection<\/h2>\n\n\n\n

Some of Malne's most recognizable elements appeared on the catwalk: Strong shoulders, vertical tailoring, jackets fitted at the back, shirt dresses worn as light coats, and a Malne-inspired version of the tuxedo<\/strong>. The garments alternately constructed precise silhouettes and moments of greater fluidity, allowing each fabric to claim a different form.<\/p>\n\n\n\n

Color also introduced a change of register. Black, inseparable from this house's visual vocabulary, coexisted this time with golds, earth tones, reds, pinks, and purples. The result was one of Malne's most chromatic collections<\/strong>, an opening that accompanied the argument itself of The Woman<\/em>If there is no single way to understand femininity, then there could not be a single woman around whom to organize the entire parade.<\/p>\n\n\n\n

When parading means interpreting<\/h2>\n\n\n\n

The cloister of Nebrija University<\/strong> It ended up adding another fundamental element to the story. Its four platforms allowed the experience to be presented as something closer to a photo shoot than a conventional catwalk.<\/p>\n\n\n\n

The models stopped, posed, and gave each look time to acquire a distinct presence.<\/strong>. Paloma \u00c1lvarez and Juanjo M\u00e1nez later explained that this decision was directly related to the muses who inspired the collection: women belonging to a fashion culture in which posing involved interpreting, playing with the garment and building a character in front of the camera or the public.<\/p>\n\n\n\n

The catwalk thus recovered something that the contemporary speed of images sometimes leaves in the background: the pleasure of looking at a garment for a few more seconds<\/strong>.<\/p>\n\n\n\n

Ten years later, the Malne personality remains at the center<\/h2>\n\n\n\n
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