The Alaïa exhibit, which opened at the Guggenheim last night, began with an Instagram exchange: the museum praised a sculptural, spiraling dress from Peter Mouriez’s last show, writing “perfect” in the comments along with a heart emoji. A conversation began, and eventually a date was set.
The iconic Frank Lloyd Wright-designed building had never hosted a runway show before. It had been a long day of New York fashion, but Alaïa’s fame, Mulliez’s extraordinary talent, and the glamour of the VIP guests (Stephanie Seymour, Liv Tyler, Greta Lee, Lewis Hamilton) created a sense of expectation in the lofty hall. With such a large audience, it felt uniquely Parisian. As soon as Rihanna, who had arrived late, took her seat, the Crieg lights came on and the models began their long walk up the famous spiral staircase.
Some of Mulliez’s silhouettes were inspired by the museum, including a stunning brushed shearling chubby in ivory and salmon that swirled around the torso, and a micro-pleated dress that replicated Jan’s sculptural feat: here, made with a technique similar to that used in jewelry making, it snapped around the torso like a bracelet and stayed artfully in place.
At the same time, it was a testament to Alaïa’s interest in American fashion (he was an avid collector) and Mulliez’s research into it: “I literally looked to American designers who are not forgotten in Europe, but who don’t have the same status as Dior or Chanel. To me, they are just as important,” he explained.
Bandeaus and “sweatpants” recalled Halston’s 1970s tracksuits, while Pauline Trigère came up with double-faced hooded swing coats and loose capes paired with matching skater minis, one of Alaïa’s most distinctive silhouettes. Charles James, one of Alaïa’s favorite designers, inspired the most direct reference, the sculptural puffer jacket, but also the most indirect: Cecil Beaton’s 1948 Vogue photo of James’s evening dresses served as the starting point for voluminous tracksuits made from pale pastel taffeta. “I thought it was very beautiful to bring the essence of American fashion into the collection, this ease, which is a different kind of luxury to what we know in Europe,” he said.
Models “descended” Alaïa into the city wearing gold chain necklaces dangling from earrings that, from a distance, looked like wired headphones. Only in New York could they do that. “I’m not doing this show in Paris,” he said. It was a deft touch from a designer who thinks of everything.
On Sunday, the Brandt Foundation will host a preview of never-before-exhibited reproductions of photos taken by Andy Warhol at Alaïa’s 1982 show at the Palladium nightclub. It’s a beautiful rebirth of a fashion legend. Mulliez’s name has come up in the constant chatter about the vacant Chanel position. He’s one of the few suitable candidates for the job, but let’s hope he’s in no rush to quit. His Alaïa is great, and he’s having a lot of fun.
