Creative director Pieter Mulier’ second collection for Alaïa pays homage to craft, and to clothing as sculpture.
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Fundamentally, it is an open and ongoing conversation between the past of Alaïa, and its future: reinterpreting codes, reconsidering architecture, investigating obsessions and unanticipated histories.
Tailoring is altered, creating oversized and structural shapes that defy gravity and trace the line of the figure. Volume fashions points of emphasis, new proportions while structures permit impossibilities: skirts dance with the wearer, dresses float around the body, invisibly suspended. The brand’s archive is displayed through materiality and silhouette, with vichy check, patent, python, lace, pure cotton poplin, and rich velvet that envelopes and transforms the feminal narrative of the body.
The show climaxed with a series of white knitted tube dresses bearing the handiwork of Pablo Picasso: in collaboration with the Picasso Foundation , they interpreted the ceramics created by the artist in the 1940s through impressive embroideries that transformed the models’ bodies into optical illusions.
“I always thought they were very Azzedine. There’s this rough, pagan beauty about them – the ultimate goddesses”, Mulier enthused, noting that the dresses, done hand-in-hand with the artists’ son and estate, would be sold as limited-editions in Alaïa boutiques.
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