2011年 07月 24日
2011年 07月 18日
2011年 07月 16日
2011年 07月 15日
ｆree your funk vs wide style: gilles peterson
vendredi 22 juillet 2011 de 22:00 à 06:00
bateau concorde atlantique
2011年 07月 14日
photograph: rachel chandler
images: industrie magazine
2011年 07月 13日
2011年 07月 13日
2011年 07月 12日
2011年 07月 12日
2011年 07月 11日
photography by xema yeste
Azzedine Alaïa’s showroom / shop / workshop / office feels timeless. The floor is covered in parquet; the rooms are filled with natural daylight from the large windows. The walls and brick towers supporting the ceiling are a dazzling red. Neither too retro nor too futuristic, the creations of the Tunisian-born designer are set out in harmony with the design of the room.
Holder of two fashion Oscars, Alaïa doesn’t have to worry about his place as one of the greatest in the history of fashion. But skills come withhardships, patience, and enduring passion. Since a young age, he was fascinated by the creations he discovered in the copies of Vogue. At Guy Laroche, Alaïa launched his first collection of ready-to-wear for Charles Jourdan in the ’70s. It was in the ’80s that Alaïa impressed the fashionworld by focusing on perfectly fitted fabrics that embraced the shape of bodies and exposed the chic and sensuality of his subjects. The creator isseen as both a designer and an architect.
He created innovative and amazing outfits and developed a strong clientele: Grace Jones (with whom he still works closely), Madonna, NaomiCampbell (who became his muse), and more recently, Michelle Obama.
What struck me first and most about him was his radiant personality and energetic character; he invited me to join him at the table along with his team. Azzedine Alaïa loves to laugh. He challenged one of his team members to eat a dangerously spicy sauce and proved that he could eat largeamounts of it himself. I was having breakfast with a legend of fashion, yet I witnessed his respectful humanity.
What triggered you to get into fashion?
I was helping Madame Pinot, a midwife that helped in giving birth to my whole family. I told her that I liked to draw. She gave me books, pamphlets to art exhibitions, and my first book of Picasso. She registered me at the School of Fine Arts against my father’s will. I passed the exam and got accepted. My father was a wheat farmer and lived far from Tunis, where I lived.
[My father] didn’t give us children money to live, so very soon I found a job in a very small shop, 5 square meters. The owner was looking for someone to finish up the dresses. My sister had learned sewing with the nuns, and she had a notebook with all the basics. That was my first real experience with fashion, and while I was in the shop, I improved dramatically.
Close to the boutique, there was a beautiful palace where two wealthy girls spent their days looking out the balcony. They saw me going in and out of the shop with cartons and fabrics, and, finally, one day after school, they came up to question me about my work and invited me to their house that same night. When I got there, I met their cousin, who wore Dior and Balmain dresses. She sent me to work for Leila, a dressmaker who made copies of Balmain clothing. A friend of hers helped me go work for Dior in Paris, in the ladies-suits’ atelier. Because of the war in Algeria I ended up working there for only five days.
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