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Azzedine Alaia: Private Collection
Written by: Godfrey Deeny
Photos by: Swan-FWD
Paris, Jul 9, 2001/ FWD/ --- One of the most exhilarating and undoubtedly influential collections of the year
was shown Monday in Paris to barely 100 people in Azzedine Alaia's home and headquarters.
No written invitations had been sent out or faxed for the collection, just a few phone calls and whispered
confidences, many of them on the day of the show. Nevertheless, Suzy Menkes, Andre Leon Talley, Franca Sozzani,
Carine Roitfeld, Cathy Horyn and scores of powerful editors were there in the giant Marais loft, and punctually.
Seeing as how Alaia has only staged four shows in the past decade, nobody wanted to miss a moment.
Azzedine is probably the least derivative designer in fashion, as this collection reaffirmed, even down to
his choice of models. Seven striking girls, all new to the Paris catwalk, wore the collection of just 22 outfits.
Azzedine's opening slanted silk paneled dress held with one long chain was impeccable, and it looked unmistakably
his. His waist throughout was high, as was his hemline. He cut small slits on the sides of his dresses and
dissected the middles with fantastic broad, vaguely medieval belts embossed with metal strips. His almost
authoritarian black leather trench with pockets way on the side was just a bit better than anyone else's.
Alaia's jackets were short, almost page-boy-like, but they hung just so, as did his loosely cut pants. His
draped evening cocktail robes made goddesses out of the models, though contemporary ones, thanks to their
minimalist leather and metal shoulder straps. The designer's sense of sculpture was best shown in a trio of
black faille tops tied up in a few knots at the front. His bride was a flamenco dancer in black faille.
Monday's collection was the first since Azzedine decided to sell a minority stake in his house to Prada, and
the influence of the Italian house was apparent in capital-G shoes that will hit the stores in October.
Alaia's best idea was a pair of wedges laced up from the base of the heel to the ankle, and ballerina slippers
were given heels.
On top of two artfully battered white cabinets, with bronze and plaster containing the poster for his old pal
Julian Schnabel's movie Avant La Nuit, were displayed Alaia's new handbags, based on an earlier design but done
in expensive new skins.
Alaia has always resolutely stayed outside the mainstream and it was refreshing to see Prada won't change that.
His house still doesn't list its phone number in any Paris fashion listing, and he shows whenever he pleases.
His last proper show was in 1996, though he did put on a capsule presentation last year to Prada boss Patrizio
Bertelli not long before the deal was signed.
Alaia didn't take a bow, despite several minutes' applause. Though when you saw Alaia backstage, you could
understand why. I don't think I've ever seen a designer look so emotional.
"I try to go my own path. I don't like to go out and find influences for collections. That's not my way. I just
do what I do," he said quietly as his fans thronged around.
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Azzedine Alaia Haute Couture
Azzedine Alaia Haute Couture
Azzedine Alaia Haute Couture
Azzedine Alaia Haute Couture
Azzedine Alaia Haute Couture
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