Instead of calling it a face donut or a pool noodle, you should know that it belongs to Alaïa‘s “Summer Fall” 2025 collection. This line, masterminded by Pieter Mulier, showcases themes of transformation, creating shapes resembling chrysalises in certain areas and displaying geometric elegance elsewhere on the runway.
For the very first time, the brand will appear on the official schedule for Paris Fashion Week, as indicated by its season title “Summer Fall.” In stark contrast to traditional practices, Alaïa has consistently challenged norms. Last autumn, the brand decided to forego Paris entirely and held the inaugural fashion show inside the Guggenheim Museum in New York City. This time, Mulier meticulously developed themes centered around Azzedine Alaïa’s passion for sculpture, geography, and fashion.
On the runway, circular fabric bands adorned the models’ heads, accentuating their faces like classic portraits and acknowledging Alaïa’s enduring tradition of celebrating female beauty. Meanwhile, flowing pleated skirts were paired with these headpieces, billowing gracefully around the models’ waists thanks to Alaïa’s unique cardboard technique.
In other areas, intricate horizontal pipes were incorporated into jackets made to resemble woven and fur textures, expanding upon Charles James’ jacket design from the previous season. Once the model had fully transformed into a butterfly-like figure, coats made of fur and dresses with pleats gracefully walked down the runway, giving an impression of weightlessness in constant motion. Underneath these garments, shoes adorned with fringe flowers could be seen.
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In various places, horizontal tubes were fashionably integrated into jackets that mimicked woven and fur fabrics, building upon Charles James’ jacket design from the last season. As the model completed her metamorphosis into a butterfly-like figure, fur coats and dresses with pleats flowed down the catwalk, creating an ethereal sensation of eternal motion while shoes decorated with fringed flowers peeked out.
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Thick horizontal tubes were creatively incorporated into jackets that resembled woven and fur materials, expanding upon Charles James’ jacket design from last season in different areas. Once the model had completed her transformation into a butterfly-like figure, coats made of fur and dresses with pleats glided down the runway, giving an impression of weightlessness in continuous motion while shoes embellished with fringed flowers were visible beneath.
The runway showcased sculptures crafted by Mark Manders, a Dutch artist whose artistry holds great appeal for Mulier. These sculptures symbolized Azzedine’s Tunisian lineage and the worldwide embodiment of the Alaïa woman.
On March 5th, Alaïa plans to celebrate their collection by unveiling a brief movie directed by Shayne Laverdiere. This movie offers an insightful look into the creative journey of a runway show, taking us from the casting process to the conception of each design.
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2025-03-05 19:55