For Summer-Fall 2025, Pieter Mulier builds an Alaïa (Instagram) collection shaped not only by fabric and form but by memory, movement, and a deeply personal philosophy. “This Alaïa collection began with thoughts of history, of geography, of sculpture, and always of women,” he says — and each look embodies that interplay. In a show staged within the Alaïa atelier, the fashion house’s very heart, Mulier invites the viewer into a space where art and dress converge.
The work of Dutch sculptor Mark Manders anchors the show, his sculptures frozen mid-thought, timeless and ambiguous. Their quiet presence reinforces the collection’s central idea: beauty untethered from linear history or place. “Each of his sculptures seem[s] itself a work either in progress, or marked by the passage of an imaginary time,” Mulier notes. That sense of temporality flows into the clothing, which draws from myriad cultural references while refusing to belong to any single era.
Hoods, pleats, and draped silhouettes reveal and conceal kinetic sculptures, forming fluid portraits of womanhood. Padding and curvature contour the body not to sexualize, but to honour and protect. This is not just body-conscious design — it is consciousness of the body. Accompanied by a haunting score titled Liefde, composed by Gustave Rudman and featuring Egyptian soprano Fatma Saïd interpreting Gibran’s Aatini al-Nay wa-Ghanni, the collection sounds as much as it moves like a synthesis of distant lands and lingering memories.
At its core, Alaïa Summer-Fall 2025 is a manifesto of feminine resilience. “Your body is yours,” says Mulier. Through craftsmanship and silhouette, he reaffirms the house’s unwavering message: individuality is power. Beauty is strength. And Alaïa belongs to no era but every woman.
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