Azzedine Alaïa was an unparalleled maestro of technique and finesse, making women not only look their best – but feel their best. He came up with wearable solutions that let the wearer, without much effort, become an impersonation of chic, an IRL goddess. His dresses – just as daywear – enhanced the body, but never restricted it. Just look at this midnight blue velvet gown from spring-summer 2003 haute couture collection that’s currently showcased at Fondation Azzedine Alaïa:

You just put it on and feel fucking good.

Pieter Mulier,contemporary creative director of Alaïa, has proved many times he has the artisanal know-how that Monsieur Azzedine would appreciate. But this season, something went off course. The Belgian designer tried hard to reinvent the wheel, but the result felt forced and unresolved – rather than innovative. It’s difficult to imagine a woman – not a runway model – radiate with real confidence in those tubular skirts and hyper-padded jackets. These technical novelties made the collection read as complicated and demanding – but not as in intellectual, Prada way, or conceptual à la Comme Des Garçons, but as in difficult to wear. The massive, floor-sweeping coat in the end didn’t help.

The collection, in overall, gives me the impression of Alaïa’s newly-opened boutique on Saint-Honore. Confusing, massive and frankly, cold. Antonyms of Azzedine Alaïa’s legendary hospitality and sincerity.

Discover the collection here:

Collage by Edward Kanarecki.
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