The Comeback of The King by SUZY MENKES
When Naomi Campbell walked out to start the first couture show in six ye– ars from Azzedine Alaïa the man she calls “Papa”– I was transported back to another world.
It was the height of the 1980’s and into that orgy of opulence strode the super models. Naomi, Linda Evangelista, Christie Turlington and their colleagues were like an army taking on the fashion world.
Alaïa collected these independent beauties with a new spirit, encouraging them to wear his clothes with pride. And what clothes! The body-hugging dresses that gave Alaïa the name “King of Cling”. Knitted dresses transformed lithe bodies into writhing serpents. Or the black leggings and body suit that were the Alaïa signature formed the base for curvy coats or a fitted jacket made from crocodile.
For the 2017 autumn-winter couture season, Azzedine was back, displaying with verve a new passion for pattern from Naomi’s black and white fluffy shearling coat to red outfits embroidered with folk lore designs. New ideas flowed in from high-rise turbans twisted in plastic to furry coats with red rose embellishment, extended to boots. Surfaces were undefinable with swirling weaves on cloth and the animalistic effect captured by leopard patterned boots. This was a true winter collection, where knitted dresses were tailored to the body in a fit and flare effect.
It is a myth to claim that Alaïa ever moved off stage or that he lost interest in inventing new shapes and showing his clothes. Or that he is reallly a ready-to wear designer whose clingy dresses are produced by an Italian factory. «I have been doing couture since the – inception of my career much longer than ready-to-wear», says Alaïa, whose work rooms on the third floor of his building in the Marais district of Paris are filled with tables holding scissors, paper patterns and pins. That is where he alone, the tiny figure, whose embrace in the long arms of Grace Jones is part of fashion mythology, works on his creations.
«While I enjoyed and still do enjoy doing ready to wear, my roots are in – couture all my clothes are first made by myself, all patterns are traced by me and then developed by my couture ateliers», says Alaïa, explaining that 30 people are dedicated to the hand craft. I remember when Azzedine, with his naughty, plump cheek smile, took me up to the atelier. A gathering of seamstresses were working on a single bridal dress where the lace train stretched from end to end.
As we crowded into the baking hot iron and glass showroom for the July presentation, I thought of how many times I had sat around Azzedine’s kitchen table, his partner Christophe Von Weyhe keeping control of a long haired dog. The conversation was always in varied languages. Carla Sozanni might translate for photographer Arthur Elgort; International stylist Carlene Cerf de Dudzeele, her voice rising from a growl to a screech would convey the latest gossip to Azzedine. He would be smiling, or just occasionally, thin-lipped and solemn.
As Naomi started the show, wearing a turban covered in plastic, the crowd roared with approval. In front of me was former First Lady Carla Bruni Sarkozy; documentary producer and former model Farida Khelfa, her family originating from North Africa, like Azzedine; and Nicolas Ghesquière, creative director of Louis Vuitton. If the audience leapt with joy at the bright colours for coats and dresses, we also sighed with delight at black dresses, woven in lace and knit to play peek-aboo with the body; or mixing boldly leopard patterns that might be glimpsed through black pleats. Long or short, – there was a gleam to the materials with a V-neck velvet top and glimmering long skirt on Naomi for the finale.
Everything fashion loved was there, including shoes, gaining a powerful place for Alaïa in collaboration with Ferragamo, while the company as a whole has been supported by the Richemont luxury group since 2007. This couture show was the 10th anniversary of the collaboration.
After prolonged clapping and cheers, Azzedine, as ever, did not come out, believing that the praise should go to his atelier, not just to himself. Backstage, the designer sat, a small figure in his eternal black cotton Chinese pyjamas, smiling shyly at this sweet moment of success. (Traduzione Antony Bowden) •