The shapes and colours of the FW25 collection by Alaïa

After his dazzling and dynamic showcase last September at the Guggenheim Museum in New York for his SS25 collection, Alaïa returns home, presenting its FW25 collection in the heart of its Parisian atelier. The cold and raw concrete walls of the brand's new headquarters were far from giving an austere or harsh impression but rather served as the perfect backdrop for the whirlwind of shapes and colors about to unfold before our eyes. From weightless winter dresses to thick cocoon coats, Pieter Mulier took us on a journey through time, through different eras, but above all, into the sculptural world of the Maison, made of curves and art—Azzedine Alaïa’s first love. Movement seems to be the common thread of the Belgian designer’s work for Alaïa, judging by his latest collections. After a swirling and vibrant spring-summer collection, Mulier returns for fall-winter with the same turbulent spirit, presenting 44 looks in constant motion.

The show both opens and closes in the same way, with silhouettes that could almost be described as understated, if not for the enveloping and avant-garde hoods framing the models' faces. If the skirts seem to hover around the body, as if held aloft by an invisible and inexplicable force, the tops, on the other hand, are so fitted that one might believe they reveal the heartbeat of the models, their bodies seemingly merging with the garments and vice versa. But this simple start is short-lived, as complexity soon makes its entrance—along with colors, from mustard yellow to celestial blue and deep burgundy, appearing as early as the third look and adding touches of joy throughout almost the entire collection. The shapes follow suit: the imposing hoods of the opening looks transform into voluminous shoulders and intricately crocheted vests decorated with large tubular details as the show progresses. The collection is versatile, undeniably wintery but far from heavy or overwhelming. Balance is found in contrasting yet complementary silhouettes. High necklines coexist with exposed midriffs. The airy fabric of pleated skirts clashes with the rigidity of leather. The silhouettes, covering almost the entire bodies of the models, seem to challenge the delicate and light dresses, reminiscent of those worn in the 1920s for a night on the dance floor. Even with its significant shapes and volumes, the stark contrast between black and color is striking, and the interplay between the weight of different looks is evident. Yet, the collection remains inevitably soft—an understated force that contains not a trace of hostility. It stands as an ode to women, to their bodies, and to the art of sculpting them like marble—just as Azzedine Alaïa once did with fashion.

“This Alaïa collection was born from a reflection on history, geography, sculpture, and always on women. They are all part of the garments, embedded within them.” Mulier confirmed. The female body is the starting point for Mulier’s designs, just as it was for Azzedine Alaïa, who, with his background as a sculptor, knew better than anyone how to embrace the body rather than conceal it. The tribute to sculpture is not only found in the garments but also in the setting, enhanced by the works of sculptor Mark Manders, whose art also inspired Mulier for the FW25 collection. “This idea of non-linearity—of space and time—inspired me. The notion of beauty codes beyond any era or geography, without borders, is intrinsically linked to Alaïa’s philosophy, to our identity.” This latest successful collection by Pieter Mulier for Alaïa only reaffirms the young designer’s talent in blending his unique vision of modernity with the deeply rooted DNA of the Maison. Mulier’s Alaïa woman, in all her forms and colors, continues to shine—through summer and winter alike.