The Magic of Alaïa
“Everyone who has ever been in the Alaïa studio probably has a story to tell about a dress,” writes Cathy Horyn in an article posted today about the designer’s current museum exhibition. I’d argue that anyone who has ever borrowed, bought, worn, or touched something Alaïa has one too.
There’s something supremely magical about the brand. That magic, I believe, exists in the same kind of way we assume ancient, beautiful houses are haunted. Though Azzedine’s line is hardly ancient–surely names have been around longer (Christian Dior, Lanvin, Vionnet)–there’s just something about Alaïa that makes it hard to imagine fashion’s lexicon without him.
“There is no sense of present or future in Azzedine’s work,” quotes Horyn of the exhibit’s museum director. “That’s why,” she continues, “you can look at the 74 garments on display (with another half-dozen or so at the Musée d’Art Moderne across from the Galliera), and nothing looks out of date.”
And yet, didn’t we also just agree that it looks as though his clothes have been around since designers were creating couture?