At Paris Fashion Week A/W 2025, Pieter Mulier took Alaïa into uncharted territory, pushing the boundaries of fashion with an avant-garde collection that blurred the lines between clothing, sculpture, and cultural symbolism. In an era where luxury fashion often plays it safe, Mulier’s willingness to experiment stood out as a rare intellectual challenge—one that left audiences questioning and reinterpreting the very definition of wearable art.
From the moment the first model stepped onto the runway, it was clear that Mulier was exploring radical new silhouettes. His designs featured padded rolls encircling the body, creating exaggerated contours around the hips and face. A twisted rope skirt hung like a suspended sculpture, while jackets swelled with hyper-inflated padding. Sleeve heads were adorned with stuffed, frill-trimmed fabric structures, and skirts billowed in lantern-like pleats, each piece appearing as if it had been meticulously engineered rather than merely sewn. The result was a collection that felt more akin to kinetic sculpture than traditional garments.
This departure from conventional tailoring marked a shift from Mulier’s previous collection, which emphasized purity and simplicity. This season, his focus was on silhouette and craftsmanship, pushing the capabilities of fabric manipulation to extraordinary levels. Some pieces evoked surreal, almost alien-like structures—one could spot echoes of knitted rope, armadillo spines, and even unexpected forms that defied immediate categorization.
Yet, beneath the spectacle, Mulier’s work remained deeply rooted in Alaïa’s DNA. The house’s signature precision tailoring and sensual draping were still present, seen in belted leather coats, sculptural cropped jackets, and side-knotted jersey dresses that embraced the body with effortless fluidity. A particularly striking moment came in the form of a slim, tailored coat featuring a veil-hood—a seamless fusion of Arabic influences and classic Parisian couture.
Mulier’s meticulous approach extended to his innovative knitwear, which featured layered geometries that wrapped seamlessly around the body. The technological mastery behind these designs hinted at collaborations with highly advanced textile artisans, reinforcing Alaïa’s reputation for technical excellence.
But what was the deeper meaning behind these bold explorations? According to Mulier, the collection was bound by a universal thread—an exploration of cultural and historical connections across time and geography. Backstage, he spoke of commonalities between traditional Spanish coifs, 16th-century farthingale rolls, and elements of African ceremonial dress, drawing a line between diverse influences to highlight the interconnectedness of global aesthetics.
This idea of transcending linear time and space was further reinforced by Mulier’s reference to the work of artist Mark Manders, whose sculptures often appear as if frozen in a state of evolution. Just as Manders’ pieces challenge perceptions of time and cultural identity, Mulier’s collection encouraged a reconsideration of beauty, free from the constraints of any single era or origin.
Despite its avant-garde nature, the collection did not entirely abandon practicality. Sleek, oversized robe coats and contemporary puffers were present, seamlessly balancing artistry with wearability. Given the commercial success of Alaïa’s mesh Mary Jane ballet flats and the Le Teckel bag, it’s clear that Mulier is confident in his ability to push creative limits while maintaining a commercially viable brand.
As the fashion landscape becomes increasingly cautious, Mulier’s risk-taking serves as a refreshing counterpoint. His vision for Alaïa is one that dares to provoke, question, and redefine the notion of luxury fashion. In a season filled with anticipated debuts—from Sarah Burton’s first collection at Givenchy to Haider Ackermann’s new era at Tom Ford—Alaïa’s show was a testament to the power of experimentation, proving that true artistry in fashion still has a place on the runway.
