Two rows of black folding chairs lined a street in Marais where the first ever Alaïa boutique used to reside, now home to the Azzedine Alaïa Foundation. The seats were peppered with fashion industry favourites, including Raf Simons, Pierpaolo Piccioli, Anna Wintour and Suzy Menkes, who were waiting to see Peter Mulier’s debut collection with Alaïa, following a 4-year hiatus for the brand after the death of founder Azzedine Alaïa in 2017. Mr. Alaïa was often lauded as one of the greatest couturiers of the early 20th century, and the brand’s return to haute couture was certainly no small feat.
Mulier avoided tapping into Azzedine Alaïa’s vast array of archives so as not to overcomplicate his debut collection. Yet, the Belgian designer still paid homage to many of Alaïa’s iconic designs, giving a nod to the nicknamed “King of Cling” with reinterpreted bandage dresses, streamlined knit bodysuits, draped hoods and capes. Mulier created sculptural volumes across the wearer, sometimes forming amorphous silhouettes, and sometimes clinging to the body like second skin.
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Mulier certainly stayed true to Alaïa’s DNA, which meant forming pieces around the curves of the female figure just as his predecessor did. But the designer also found ways to imbue each piece with his own personal inflections, like his irregularly cut shirts that flowed seamlessly into hoods, incorporating the likes of stretch crêpe and perforated leather, and replacing Azzedine Alaïa’s metal grommets for silver bobbles.
The tribute to this legendary designer was carefully laid out and thoughtfully executed, with no stone left unturned – a heartfelt thank you letter to Mr. Alaïa was given in place of show notes. But beyond this notable salute to the brand and founder, how will Mulier continue to push the boundaries as Mr. Alaïa did, while imbuing his own spirit with the grammar of the house? Only time will tell.
Editor
Carina Fischer
