He never stops working – far from the spotlight, Azzedine Alaïa nevertheless didn’t abandon his passion and his couture. In over 40 years of career, this couturier with his eternal Chinese get-ups is today considered as the last real couturier. With his style against the grain of time and trends, with the rebellious spirit that makes him do and say exactly what he wants, there are few who compare to him. Alaïa constructed his brand through an arranging of the body and a perfection in construction. With tapered silhouettes and stunning cuts, this Mediterranean designer for whom curves are a virtue presented his first collection in Paris as a member of the couture calendar since 2011.
And his return was celebrated with plenty of fanfare. Naomi Campbell, his friend and protégée ever since the beginning of her career, opened the show and summed things up thus: “It was really emotional, since I didn’t want to blow him off and I wanted him to be proud of me. His clothing is exquisite. He’s really the master.” Indeed, no other couturier can boast of having such simple, fluid, and yet finely wrought dresses. His collection was classic Alaïa – just like this spotted dress. Fitted and flared, the piece becomes one with the bod, with leather-spiked pleats, in black and with the signature spots.
With a “Russian doll” spirit, the first looks in this Haute Couture collection introduced the very idea of Azzedine Alaïa: “A woman can’t wear a drawing”. This fantastic work in cuts fashions women’s curves. With a sensuality tinged with authenticity, the couturier brings women a gracious and simply exquisite allure. Alaïa meticulously singles out the true capabilities of haute couture here: mixing subtle but rich textures that seem to never have been worked before him.
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