Alaïa S/S 2025 New York

[Frederic01]

The references to Alaia's work are there (Fall 2001 Couture in one look for example), but in a subtle way. I personally like his futuristic take on the Alaia heritage and the way in which he takes elements of the archive and applies his own design language. I don't understand why everyone is so harsh on Pieter? Alaia made some terrible and ugly clothes in his day (trompe-l'œil bows, rainbow tartan, butterfly print cardigans) and not everything he made was "sensual" and "sexy" and referencing his Tunisian roots. I think people have this very narrow vision of what Alaia stood for based on his work in the early 2000's and due to people like Carine Roitfeld and the Vogue Paris team. His work was much more than black/sensual/chic, even though that was the publicity narrative being pushed at the time and still what people think of his oeuvre today.

Don't get me wrong, this is not Pieter's best show by any means, but it is still an interesting collection. The fact that this is being called "lifeless" is quite bizarre to me, and a term that I see being thrown around a lot in reference to the new group of minimalist/futurist designers ie. Prada by Raf, Jil Sander, The Row, Phoebe Philo, etc etc.


VOGUE RUNWAY

 

[LadyJunon]

The references to Alaia's work are there (Fall 2001 Couture in one look for example), but in a subtle way. I personally like his futuristic take on the Alaia heritage and the way in which he takes elements of the archive and applies his own design language. I don't understand why everyone is so harsh on Pieter? Alaia made some terrible and ugly clothes in his day (trompe-l'œil bows, rainbow tartan, butterfly print cardigans) and not everything he made was "sensual" and "sexy" and referencing his Tunisian roots. I think people have this very narrow vision of what Alaia stood for based on his work in the early 2000's and due to people like Carine Roitfeld and the Vogue Paris team. His work was much more than black/sensual/chic, even though that was the publicity narrative being pushed at the time and still what people think of his oeuvre today.

Don't get me wrong, this is not Pieter's best show by any means, but it is still an interesting collection. The fact that this is being called "lifeless" is quite bizarre to me, and a term that I see being thrown around a lot in reference to the new group of minimalist/futurist designers ie. Prada by Raf, Jil Sander, The Row, Phoebe Philo, etc etc.

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VOGUE RUNWAY

This tunnel vision outlook is quite common for fans and historians of 80s/90s designers. Ann Demeulemeester and her work being summed up as "poetic" is the worst culprit, but I'm not suprised that Alaia has a similar issue.

 

[LadyJunon]

We have the show film!

 

[Constructionist]

I actually used to kinda like his work, but this looks terrible. I'm not even sure Shein would even accept this.

Side note : I really hate when designers get interviewed and talk about their inspiration from Country or something specific and you think you're going to get something well designed or atleast well researched with details.

Then you see the result and it is some lukewarm or terrible nonsense.

 

[philophile]

The references to Alaia's work are there (Fall 2001 Couture in one look for example), but in a subtle way. I personally like his futuristic take on the Alaia heritage and the way in which he takes elements of the archive and applies his own design language. I don't understand why everyone is so harsh on Pieter? Alaia made some terrible and ugly clothes in his day (trompe-l'œil bows, rainbow tartan, butterfly print cardigans) and not everything he made was "sensual" and "sexy" and referencing his Tunisian roots. I think people have this very narrow vision of what Alaia stood for based on his work in the early 2000's and due to people like Carine Roitfeld and the Vogue Paris team. His work was much more than black/sensual/chic, even though that was the publicity narrative being pushed at the time and still what people think of his oeuvre today.

Don't get me wrong, this is not Pieter's best show by any means, but it is still an interesting collection. The fact that this is being called "lifeless" is quite bizarre to me, and a term that I see being thrown around a lot in reference to the new group of minimalist/futurist designers ie. Prada by Raf, Jil Sander, The Row, Phoebe Philo, etc etc.

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VOGUE RUNWAY

Authentic person commenting on a forum that is the equivalent of the 4chan of fashion. It's not just that you find seriously immature comments in here at the level of a 12 year old (despite them being 'full grown' adults), but that they work as a sort of cliqué reinforcing each other's opinions. TFS is an accumulation of the worst people on the internet who 'love' fashion, but not really, they just love being part of a community who hate on the same things in the same immature way. Speaking 4 languages fluently, I always giggle a bit when the anglocentric majority of this forum makes fun of someone's English. I dare you to speak German/Spanish/French as I speak English. But let them be in their dream world where they are tastemakers/art critics/fashion icons.

As I previously mentioned, I do not like 95% of this collection, but he offers at least a couple of interesting looks. Funnily, people haven't even been mentioning Alaia in the past 11 years as they are doing now, even back when he was alive. Maybe Pieter is what Alaia needed to resucitate the brand, even if he's not faithful to a T to the DNA of the label. Something to think about....

 

[jeanclaude]

Pieter at Alaïa feels like heavy concrete. In Alaïa´s work you can easily tell he had feelings when designing; but here everything feels numb.

Pieter and Daniel Roseberry share the same kind of logic when designing:
Elsa Schiaparelli was a Charles James client...so let´s make a copy of one of his famous dresses! Azzedine Alaïa was a collector of Charles James clothes...so let´s make copies of his famous puffer jacket!

Basic laziness 101!

 

[Cocteau Stone]

A lot of this feels very heavy, even when the styling and amount of fabric is so sparse. The surplus of tube tops I don't really understand as it looks incredibly lazy, but I guess for what he was going for it does in some ways "work". It makes sense to show it at NYFW. That isn't a compliment though...

The denim is really out of place. There isn't enough of it in the collection for it to work although it also isn't done all that well. Everything else seems so vacant. A strange blend of Rick Owens and JW Anderson alluding to Charles James. Seems odd to say but there's something childish about this collection. The Alaia woman here doesn't seem very in control or sure herself. It is one of his worst collections, but it also makes zero sense when compared to the latex collection or the pent house one. It's all so lost.

 

[Frederic01]

eljosecriales

 

[Creative]

I also think Pieter gets lot of “unjustified” hate. I mean, everybody is free to hate, but I think his work is pretty inoffensive. He is just there. He is not great but also not bad. And at least he tries, even if it’s not looking great either.

 

[PDFSD]

The references to Alaia's work are there (Fall 2001 Couture in one look for example), but in a subtle way. I personally like his futuristic take on the Alaia heritage and the way in which he takes elements of the archive and applies his own design language. I don't understand why everyone is so harsh on Pieter? Alaia made some terrible and ugly clothes in his day (trompe-l'œil bows, rainbow tartan, butterfly print cardigans) and not everything he made was "sensual" and "sexy" and referencing his Tunisian roots. I think people have this very narrow vision of what Alaia stood for based on his work in the early 2000's and due to people like Carine Roitfeld and the Vogue Paris team. His work was much more than black/sensual/chic, even though that was the publicity narrative being pushed at the time and still what people think of his oeuvre today.

Don't get me wrong, this is not Pieter's best show by any means, but it is still an interesting collection. The fact that this is being called "lifeless" is quite bizarre to me, and a term that I see being thrown around a lot in reference to the new group of minimalist/futurist designers ie. Prada by Raf, Jil Sander, The Row, Phoebe Philo, etc etc.

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VOGUE RUNWAY

I like all the old layers of Alaia the good and bad and the amazing and i don't think people see only ALAIA via his work from paris Vogue editorials or just his sexy side. (there been plenty of traveling exhibits on his work as well plenty vintage footage of his show on social media )

You just proved my point with the pics side by side : the older version of the look is still better and more cool than his spandex wolford colab version the choice to put on the white shirt, the way the drape is slightly sheer all most and hugs the body versus the peters version for effects nakedness and heavy and not controlled volume of the skirt on a tin chain.

Maybe it's just a taste thing that certain details don't speak for certain fans

I think to sum up the general objective critic is that he lacks the refinement in translating the work of AlALia with the same tension that the original work has.

Most of ALAIA older pieces still are very modern and of now, and when the new version does not add or improve on it but is just a technically and visually flat simpler version its disappointing because of the potential of the archive and possible of Peters.

That's where the lifeless comets come from, there's no vibration no tension of research on what it is to make clothes for the AlAIA woman of to day questions and providing answers....that why Alaia had ugly experiments as well because there was research and play modernity but also warmth he had many layers to his work but its peters job to touch on them profoundly not just on the surface.

I feel Haider´s TF will have same problem, modern flat sleek but missing the cultural part that made the brand have connection to something more than just fashionable clothes.


For me this the best way to sum up the Peters version of ALAIA versus original ALAIA :

 

[PDFSD]

I also think Pieter gets lot of “unjustified” hate. I mean, everybody is free to hate, but I think his work is pretty inoffensive. He is just there. He is not great but also not bad. And at least he tries, even if it’s not looking great either.

The critic is not unjustified because you can objectively argue on technical aspects and general quality of creative output ( even if its a grey area as its a matter of taste and knowledge ) if his vision of the house is good or bad or inoffensive (lackluster).

regarding hate i don't know i don't subscribe to convos on that beauce i don't understand why one would take the time to put so much feeling into something they dislike or have no affinity for etc (i think therapy is a better solution )

 

[PDFSD]

^^
Alaïa admired and collected Charles James. So referencing him is clever actually.

I find it intriguing when Designers references idols of designers’s brands they are working for. A Balenciaga reference at a Givenchy show is interesting as much as a Givenchy reference at Schiaparelli works.

It’s even more interesting when designers goes for the opposites but they have to be very good for that.

I must say the Charles James inspirations are once again, lackluster here.

Yes absolutely ..... my point exactly the Charles James inspirations was lackluster here. because i know MQ Queen did also versions and i think chloe had also a clear version of it in colors and rick also did his spin on it etc but again the vintage one is better and is done almost 88 year ago ...that's my feeling his approach is not a evolution but a child's copy of iconic works,
but presented like the new modern beter version.

 

[Creative]

The critic is not unjustified because you can objectively argue on technical aspects and general quality of creative output ( even if its a grey area as its a matter of taste and knowledge ) if his vision of the house is good or bad or inoffensive (lackluster).

regarding hate i don't know i don't subscribe to convos on that beauce i don't understand why one would take the time to put so much feeling into something they dislike or have no affinity for etc (i think therapy is a better solution )

Indeed! But I get almost the same vibes from his TFS threads than the ones from Sabato’s trainwrecks.

I don’t like his Alaïa either, because it’s too lifeless and a little bit pretentious for me, but it’s also quite… neutral. Like you can’t say it’s amazing but I feel it’s also not fair to say it’s terrible, imo. It’s like maybe not in tune with the brand, too boring, too cold… but it’s not something extremely bad. It’s just there. To me it doesn’t bring any strong feelings, and I’m usually quite opinionated. Something that I appreciate from him is that I kind of see the effort, even if it’s not working, and effort is something that’s missing these days.

Maybe it’s because we live in a world of Pharrels, Jacquemuses, Sabatos, Vaccarellos… that these kind of clean/boring offerings do not bother me much.

 

[Kanzai]

Maybe it’s because we live in a world of Pharrels, Jacquemuses, Sabatos, Vaccarellos… that these kind of clean/boring offerings do not bother me much.

Vaccarellos > Hedi in 2024, sorry to say that. I'm by no means his fan or YSL enjoyer but he doesn't deserve to be lumped in with those names

 

[Alquimista]

It's good. I like the drop waist shapes. When non-model women starts wearing it, we'll see if it works or not.

 

[Creative]

Vaccarellos > Hedi in 2024, sorry to say that. I'm by no means his fan or YSL enjoyer but he doesn't deserve to be lumped in with those names

Not to me. Vaccarello is the most uninspired and most basic designer ever, most empty, most “insta/aesthetic/generic thing and he has 0 substance. He doesn’t even try either. He can send 300 sheer skirts/dresses, all the same, in one show.

To me he is the insta designer, like if one of those basic insta girls that think they like fashion started being a designer.

 

[FashioNarrating]

I'm gonna have to disagree with a lot of y'all on this one.. while there are definitely pieces/looks that are duds - the denim is just not good this time, and some of the styling is cumbersome - what Mulier is offering is still quite interesting and inviting, though possibly more to newer generations of spectators and Alaïa girls such as Gaia Repossi rather than old followers of the house. Understandably, we all compare his work to the founder's, but I don't people realize at some point anyone would have to move from circular dresses in black and bordeaux that editors and celebrities love to wear and look 'failproof' - otherwise they could just present the Editions line as the main collection. I also find the common criticism of Mulier's Alaïa being cold and not sensual somewhat ironic, because as much as it was a professed love letter to women, the reality of Alaïa's own work (particularly during the last two decades) wasn't really the sight of a fiery Tunisian goddess, but rather pretty strict, symmetrical knee-length dresses on Naomi Campbell in court or Victoire de Castellane in the front row, and that is what Mulier's sometimes questionable, yet intriguing propositions seem to be challenging.

 

[donyan]

I get the criticism but I still like this ( and his Alaia in general) so much more than a lot of what is currently out there. It is ambitious in the way it is conceived and in its' flawless execution, not ambitious in the marketed and merchandised product- sense that we have at most other brands now. To me it feels almost old-fashioned in its' refusal to show anything that is even remotely commercial ( the two white dresses notwithstanding ), a show purely as a way to communicate an image, a feeling. Yes it's cold and clinical, but at least it represents something. There's a point of view, however unreal and removed from real women it might be. Unlike the endless array of merch like at Gucci or Dior.

 

[KoV]

I get the criticism but I still like this ( and his Alaia in general) so much more than a lot of what is currently out there. It is ambitious in the way it is conceived and in its' flawless execution, not ambitious in the marketed and merchandised product- sense that we have at most other brands now. To me it feels almost old-fashioned in its' refusal to show anything that is even remotely commercial ( the two white dresses notwithstanding ), a show purely as a way to communicate an image, a feeling. Yes it's cold and clinical, but at least it represents something. There's a point of view, however unreal and removed from real women it might be. Unlike the endless array of merch like at Gucci or Dior.

I don't mean this as a criticism of the collection, because I don't think there's anything wrong or newfangled about a commercial collection, but.... to me this is extremely commercial and not at all statement-making or conceptual. I wouldn't call it cold or clinical either. I do appreciate the lack of merch and accessories (perennial bestsellers, like laser-cut leather bags, belts, and shoes are absent here) but 90% of these pieces are department-store-ready.

 

[Lola701]

I get the criticism but I still like this ( and his Alaia in general) so much more than a lot of what is currently out there. It is ambitious in the way it is conceived and in its' flawless execution, not ambitious in the marketed and merchandised product- sense that we have at most other brands now. To me it feels almost old-fashioned in its' refusal to show anything that is even remotely commercial ( the two white dresses notwithstanding ), a show purely as a way to communicate an image, a feeling. Yes it's cold and clinical, but at least it represents something. There's a point of view, however unreal and removed from real women it might be. Unlike the endless array of merch like at Gucci or Dior.

I find it interesting that you don’t find this commercial because this is very commercial to me. And there’s nothing wrong with commercial fashion. I take a good commercial fashion show over an intellectual overdesigned mess.
And Azzedine was commercial anyway.

When I look at this show, it’s retail gold. The silhouette is accessible and understandable, there’s nothing really challenging for the eye and even the balloon pants are light so it works.

Except the two closing looks, from the spiral looks to the wrinkly jumpsuits is really the challenging part. Some models even got a bag.

I think his approach to Alaïa is very safe actually, very surface-leveled.

I would say that my issue with his Alaïa is that I don’t know what it is trying to be or what he is trying to say.
The Alaïa woman was multifaceted because he dressed very different kind of women but also because some of those women evolved in their lives. Farida Khelfa did not wear Alaïa the same when she became the studio director of the brand to when she was a model. The same for Victoire de Castellane.
Even me, prior to Azzedine’s death, I was more leaning to his re-issues than the very beautiful expected dresses he did maybe from 2013…
When I see the looks on MariaCarla and Binx, I say to myself that this is a believable direction for Alaïa. It looks sexy, confident and right.
But the man loves to over design. Sometimes, an allure, an actual vision of a woman is enough.

Those spiral dresses screams design contest. I wish he went more on the Madame Gres, effortless route than that.