For his final collection at Alaïa, Pieter Mulier chose not to stage a spectacle but instead to distill the house to its essence. The Summer/Fall show functioned as both reflection and farewell, an understated closing chapter to the five years he spent shaping the legacy of Azzedine Alaïa.
In his show notes, Mulier framed the collection not as a personal statement but as a tribute to the atelier.
“This collection is not about me. It is about the Alaïa team – our family – and an expression of all we have learned, and felt, and loved across the past five years.”
What emerged was a wardrobe reduced to the codes that have long defined the house: sculptural silhouettes, precise tailoring, and an unwavering focus on the body.
The opening looks established that philosophy immediately. Scoop-neck jersey dresses cut closely to the figure, their surfaces largely uninterrupted and their silhouettes reduced to a pure line. Yet within that restraint, subtle gestures gave way to Mulier’s precision. Several dresses incorporated pockets placed unusually low on the hips, encouraging the hands to rest along the upper thigh rather than the waist. The placement subtly shifted the body’s posture, introducing a relaxed ease to the otherwise highly controlled forms.
From this disciplined beginning, silhouettes gradually expanded. Double-breasted coats cinched at the waist and sleek velvet and pony hair blazers gave way to column dresses and fluid jersey ensembles that moved in a way only Mulier’s garments can. Coats formed triangular volumes through the body, while deep curved armholes softened the architecture of the tailoring.
Material underscored the collection’s quiet contrasts. Mulier paired humble fabrics like loden, viscose, cotton velvet, and raw-cut wool with more lustrous surfaces like latex, echoing the house’s tradition of elevating modest materials through craftsmanship. The colour palette remained restrained: black, cream, nude, and deep reds anchored the collection, occasionally punctuated by welcomed sharper tones.
Several looks directly referenced the house’s history. Transparent jersey dresses inset with crocodile recalled archival pieces by Alaïa himself, while chiffon gowns and hooded silhouettes nodded to some of his most recognizable evening designs.
The show also emphasized collective authorship. Photographer Keizo Kitajima collaborated on a series of portraits displayed at the venue, depicting members of the atelier responsible for the collection, a gracious reminder that Alaïa has always been as much about the hands behind the garments as the designer whose name sits above the door.
When Mulier appeared briefly at the end, the audience rose in a standing ovation. A triumphant final gesture and a quiet reaffirmation of the house’s enduring principles: clothes that celebrate the body through line, structure, and craft. Not his Alaïa, as he wrote. But theirs.
Photos by Umberto Fratini courtesy of Alaïa.