Unveiling its first runway collection since the exit of creative director Pieter Mulier, Alaïa returned to the same venue of Mulier’s swan song, the old Fondation Cartier building on the Boulevard Raspail.
This time editors lined the glass outer walls of the Jean Nouvel-designed art museum as models wove through videos projected onto curved walls.
The show did not generate nearly the same electricity as the one last March, even though the clothes were superbly executed and immediately recognizable as Alaïa: the taut black Spencer jackets with small, tightly spaced rows of buttons; the sexy leather skater skirts, their pleats spiraling down like a peeled apple, and new versions of its iconic knit skater dresses in pretty colors like butter yellow.
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Alaïa signatures were etched with a lighter hand. For example, the midriff of a dressmaker coat in burgundy leather came pin-tucked into a gentle, built-in bustier.
Jersey dresses and skirts were hiked up on the sides and rolled up to the hips, giving the suggestion of panniers, and generous slits revealing the legs. These were probably the most daring and innovative looks in the show.
It is understood the Richemont-owned house is taking its time to decide on its next creative configuration, first relying on its formidable atelier, and strong bench of in-house design talent, including it studio director Boaz Eli, who worked at Acne Studios, Loewe and Burberry before joining Alaïa in January 2024.
In a Paris season rife with succession speculation, Alaïa’s modest, low-key show felt appropriate for its transition period, civilized and very on brand. Mulier is to make his debut at Versace early next year.
