A new dawn of Alaïa
That did raise Mulier’s profile, granted – and gives something of an insight into both his working processes and the inestimable importance of his innate ability to enthuse and engage a team of highly trained and, perhaps, slightly jaded technicians to make his dreams a reality, to excite the same passion in them that he feels himself.
Jump forward to this year, back inside the bare brick walls of the Alaïa backstage-boutique space. The January 2022 show marked Mulier’s second catwalk collection for Alaïa, but his fourth overall. There was a swim capsule but, first of all, a pre-emptive series of pieces, unveiled in a digital campaign photographed by Paolo Roversi, an old friend of Alaïa’s and a new collaborator for Mulier, as a kind of preview before his first show in July 2021.
“Full-on” is how Mulier described that first collection, a recalibration of those Alaïa greatest hits, reimagined for a new audience. “I want to bring a sexuality back,” he added. “Alaïa is the only house that can do sexuality without being vulgar. Here in the atelier, from the moment they do something sensual – nearly explicitly sexual – it’s just beauty. That’s the strength of this house.
There are other connections between the two. How about the fact they’re both kind of outsiders in Paris? Alaïa was born in Tunisia, coming to Paris in 1957, Mulier is Belgian, although his accent is soft. Both began quietly, in the shadows – and, actually, worked in some of the same ateliers. Alaïa’s career began at Christian Dior – although he was only employed for four days because of issues with immigration papers.
There’s also history there: Mulier was able to call Claude Ruiz-Picasso, son of the artist and the painter Françoise Gilot, and one of the heads of the Picasso Administration, to ask for permission. “We worked together at Jil,” he says. That is of course Jil Sander, where Raf Simons and Mulier collaborated with the administration in 2011 on a series of knits inspired by ceramics. “There’s some Raf in there too,” Mulier allows, of these dresses.
It is interesting that instinct leads Mulier back, somehow, to Azzedine Alaïa, who referenced ancient Greece also, in his artfully draped and bound dresses; he adored the Musée Picasso, which opened in the Marais a few years before Alaïa moved to the rue de Moussy. And the Picasso family were intimates. “He was very close to Claude Picasso,” Mulier says. “We called him, and he said yes to the collaboration in a minute.” Then his voice rises.
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