For Winter Spring 26, Alaïa turns to Steven Meisel, continuing a lineage of image-making that has long defined the House. It is a collaboration rooted in history and carried forward under the creative direction of Pieter Mulier, echoing the relationships first cultivated by Azzedine Alaïa himself.
The resulting campaign is stripped back to its essentials. Sculptural, frontal, and deliberate, the images reject excess in favor of focus. There is no distraction, no narrative noise, just the body and the garment in direct conversation. Meisel’s photographs carry a sense of nostalgia, but not sentimentality. They feel resolved, composed with the confidence of images made to last.
Set against a pure, unadorned backdrop, the repetition of a single composition becomes a statement. The body is treated as sculpture, the clothes as form. What has long been sculptural at Alaïa shifts here toward the statuesque, turning each image into something closer to a tableau than a campaign frame.
Casting follows the same uncompromising logic with Vanessa Becker, Noor Khan, Iasmin Silva, Jiahui Zhang, and Danielle Currie featured not as characters, but as presence, reflecting a plurality that feels intrinsic to the House rather than imposed.
The atmosphere extends into motion through campaign films scored by Gustave Rudman, whose soundtrack from the Winter Spring 26 show carries forward the same rhythm and restraint. More than promotion, the campaign reads as an act of craft. Images built for memory rather than immediacy. Not representations of reality, but invitations to dream.
In its refusal to overexplain, Alaïa’s Winter Spring 26 campaign lands with quiet authority, a moment of fashion defined by timelessness.