An Icon for an Icon: Pieter Mulier Invites Paolo Roversi to Shoot His New Alaïa Archetypes

’s Alaïa would look like. The Belgian designer’s Instagram has offered tantalizing, but sparse clues: tight shots of works in progress, a portrait of Charles James at a fitting, Martin Margiela’s glass slipper, and snapshots of Mulier himself in the atelier mirror. Now, though, we have a clearer picture.

In the lead-up to his runway debut on July 4, Mulier commissioned Paolo Roversi to photograph Alaïa icons—the bodysuit, corset belt, corolla skirt, hood, and jumpsuit, included—as he’s interpreted them anew. Knitted from a Japanese yarn with reflective properties, the emblematic pieces practically glow in Roversi’s chiaroscuro images. Mulier sees them as mood setting for a collection that will be defined by elegance, precision, beauty, and emotion.

When Alaïa died in 2017 he left behind three decades of rigorous yet sensual work, which the house has based collections on in the years since. Mulier, in hisafter 15 years as Raf Simons’s righthand man, says he’s spent much time in the Alaïa archives. “As Azzedine was a genius of the hand, it’s very interesting to see how he crafted clothes.” For more on what to expect from his first outing for the maison, read Mulier’s emailed responses to our questions below.

How are you approaching Alaïa’s signature body-hugging silhouette in a post-lockdown world? How has the pandemic changed the way you think about fashion? After what we’ve been through, I think we all need beauty. I’m not talking about perfection or beauty standards, but a true emotion. Seeking this emotion was the goal with this collection. Beauty above fashion.I’ve always built a team before at Jil [Sander], Dior, or Calvin [Klein]. At Alaïa surprisingly, I didn’t. I came alone with only one collaborator out of respect for the teams in place and I’m very grateful for their passion and the way they welcomed me.Take your time. Be respectful.

Great pencil ❤

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