The King of Cling: Alaïa’s legacy continues as Pieter Mulier redefines sensuality for the modern woman

In a world obsessed with fleeting trends and ephemeral moments, Alaïa has remained steadfast in its philosophy that women come first. Founded by the late Tunisian-born Azzedine Alaïa in the late 1970s, the brand set a unique standard for artistry and the celebration of the feminine form. Naturally nicknamed the “King of Cling”, his creations were - and continue to be - considered revolutionary, offering a fusion of architectural precision with a sensuality that empowered women in a way few designers could. Today, under the creative direction of Pieter Mulier, Alaïa’s narrative evolves, blending its storied heritage with a fresh perspective for the modern woman.

To fully appreciate Alaia’s impact, you need to know that Azzedine Alaia was first and foremost a sculptor. Born in Tunis in 1935, the young boy’s first introduction to fashion came through copies of Vogue gifted by his mother’s friend, leading him to persuade his twin sister to teach him how to sew. Lying about his age to gain entry to the École des Beaux-Arts to study sculpture, he funded his tuition by assisting a local seamstress. The combination undeniably set the groundwork for his ability to shape garments that celebrated the body's contours, eschewing excess in favour of serene precision.

Arriving in Paris during the 1950s, he refined his touch by working under Guy Laroche, before launching his label in 1964 and opening his first atelier in his tiny apartment on rue de Bellechasse in 1979. Within a matter of years, the Alaïa name had become synonymous with body-conscious silhouettes, finely cut leather and form-fitting knitwear - rejecting the decade’s taste for maximalism that favoured shoulder pads, oversized blazers and garish patterns.

From the beginning, Alaïa was uncompromising. Not only in his vision but also in his rejection of the fashion system, preferring to show off-calendar and instead unveiling his work in small, intimate rooms when he deemed it ready. He built his own close-knit circle of collaborators including photographer Peter Lindbergh, editor Carla Sozzani and supermodel Naomi Campbell, whom he took under his wing when she was 16 years old, famously referring to him as “Papa”. His apartment above the atelier was renowned for its never-ending lunches and dinners where anyone from seamstresses to actresses were invited to converse. This slower pace was deliberate as it underscored his view that fashion was an enduring craft rather than a disposable commodity.

The passing of Alaïa in 2017 left a void in not only the brand but the industry at large. But how do you inherit the legacy of someone whose vision was so singular? In 2021, the question was answered: Pieter Mulier.

The Belgian designer studied design and architecture at Brussel’s Institut Saint-Luc, before cutting his teeth at Raf Simons’ atelier and swiftly being appointed senior designer in 2002. This partnership ran rife, as in 2006 he followed Simons to Jil Sander, Dior in 2012 and Calvin Klein in 2016. Though an expected choice at the time due to the clinical precision he had become known for, Mulier understood the weight of the task ahead: “It is with this tremendous sense of admiration and responsibility that I will seek to carry forward his legacy of celebrating femininity and placing women at the heart of creation”.

His debut show for Spring/Summer 2022 marked the start of a new chapter and proved to be a masterclass in honouring legacy. The architectural sensibility that Alaïa had become known for, seamlessly was rejuvenated with a more modern execution. The show notes wrote simply: “A homage to Alaïa - man, master, maison - and to femininity, which Azzedine Alaïa cherished and championed above all else”, proving that this appointment was nothing short of a stroke of genius. Recognisable draped jersey gowns swooshed past the front row, hoods winked back at the AW1984 and 1986 collection, and laser-cut belts made a welcome return. While there were stark similarities to his predecessor, Mulier was able to bring his own with pops of colour finally adding vibrance to the palette, bolder cut-outs exposing more skin and most notably, the introduction of accessories.

Adding a new dimension to the house’s offerings has catapulted the name Alaïa into today’s stream of must-haves. Starting with the fishnet ballet flat that debuted in May 2022, the shoe gained such immense popularity it's been continually reimagined with crystal studs, patent calfskin, suede, and satin - and still has everyone searching for a pair. Despite it being over two years old, Lyst’s Index for 2024 saw it gain first place as the number one ‘Hottest Accessory’ to own. To add to the momentum, Le Teckel, a sleek, elongated shoulder bag inspired by the Dachshund, cemented its unwavering position in the contemporary landscape as it has hung on the arms of everyone from Margot Robbie to Tracee Ellis Ross.

Just shy of 42 years after the founder had presented his collection at Bergdorf Goodman, Alaïa returned to New York City last September to present its Spring/Summer 2025 collection. While the Guggenheim Museum transformed into a runway, it felt like Mulier understood that fashion will always mean art at Alaïa. With the likes of Rihanna watching the new-wave of supermodels like Kendall Jenner and Vittoria Cerretti make their way down the famous spiral interior, capes, circle skirts and draped dresses echoed the man before while sportswear motifs and exaggerated shapes signalled the future.

Alaïa’s enduring relationship with craftsmanship is purely a celebration of female individuality. Under Mulier, the brand has been able to expand naturally and fearlessly explore new horizons whilst remaining loyal to its core principles. It was never about getting a successor to help Alaïa survive but to see it thrive and continue to sculpt a future where women feel free to be themselves.

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