Yahoo Lifestyle Alaïa Reminds Us About the Cyclical Nature of Inspiration
In the era of mega brands and paid celebrity entrances, it’s hard for a fashion show to feel like a moment. They so often feel like a gaudy marketing exercise than they do a presentation of new and dynamic ideas, and it’s hard to have a collection’s inherent magic jump from the runway photos into the public consciousness. But last night at Alaïa offering, in an unassuming entrance in Paris’ 11th arrondissement (which turned out to be the house’s brand new headquarters), you felt a buzz in the air. That something inside was going to stick, and it did.
Despite the less-than-generous capacities of the Fall shows (a trend this season), the show felt intimate and intentional. Pre-show chatter murmured rather than roared. The set, bar sculptures from artist Mark Manders, was simple in design, and notable celebrities felt true to the type of person who may actually wear (or be able to pull off) one of Mulier’s laser-cut spiral dresses in real life.
As the soundtrack accented by Egyptian opera singer Fatima Said wafted through the show space, and the first look appeared, it became clear the designer had chosen to approach things differently. Mulier cast his eye further afield and brought a myriad of global and contrasting influences. “Cultures can inspire cultures, in constant exchange and evolution,” Mulier explained in the official press release. This collection felt more abstract than anywhere he has dared to venture before.
The first three looks, hoods, which were references from Middle Eastern culture, as Mulier explained backstage, extended from the neckline to the hairline. In one iteration, the models’ arms were restricted in the brand’s transparent bodysuit. Twisted rope skirts that seemed to emerge from the hip, in burgundy and butter yellow, were reminiscent of North African tribal dressing. Spanish-style bolero jackets were shrunken and offered in black leather with fine hook and eye closures. Shape and volume were the key focal points throughout. Mulier incorporated each look with a 3D element and described his approach as “kinetic sculptures.” Tubular forms, exaggerated padding, ovoid wrist accents: every element of the female form felt like a need for celebration for Mulier. In some of the 44 looks, models appeared to cradle themselves, maybe a nod to the comfort and lulling we all need in these precarious times.
Mulier's show last night was a perfect example of when a designer is committed to reflecting the world around him, to understanding the fine line between disparate cultures and bringing them in closer, rather than pushing them away, and if that’s not a message for right now, I’m not sure what is.
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