Fashion Designer: A Clever Move For Ala A

The famous fashion columnist, Colin McDowell, and Azzedine Ala a explored the designer's life and work as well as his recently released Exhibition "high definition customization / sculpture: Azzedine Ala a in fashion history".

Rome, Italy - I've been looking forward to Azzedine Ala A and his unique fashion design techniques since 1980s. But I didn't meet him until lunch in Rome just a few days ago, before he held his important exhibition of Galleria Borghese.

When I arrived at Harry Harry (Harry s Bar) in Via Veneto, I was delighted to see Ala A and his close friend Carla Sozzani, and it was Sozzani who helped arrange our meeting.

As another close friend of Ala A and the curator of this exhibition, Mark Wilson also rushed over in her busy schedule.

The members of the luncheon are like a small United Nations, but we all respect Ala a, who only likes to speak in French, or even a habit of silence.

However, even if silent, the designer is keen to discern things around him, and know all the people and things around him.

Alaia, dressed in his trademark black jacket, was surrounded by enthusiastic followers, so that I sat in front of him and felt himself sitting in front of a sage.

The interview in the restaurant was hard to dig into the soul, but in less than five minutes, I realized that he was different from anyone in the fashion circle, as Alber Elbaz, another fashion legend concluded, Ala A is "unique".

Ala a was born in North Africa to a peasant family in Tunisia. He did not reveal his birthday. I guess it was around the end of the 1930s, perhaps because he rejected the fashion theory that he must have something new.

The designer said: "all fashion editors wear the same style in a particular season, but the next season is quite different."

This coincides with his past comments. For example, "these are simple clothes. At some point in a certain period of time, when something becomes important, everyone will go to it."

But in the face of endless changes, there is no fashion at all.

A eighteenth Century costume has its own life, and it will still fascinate us even though it is no longer fashionable.

Ala a speaks like a farmer who speaks confidently about his land, his crops and his seasonal rhythm.

At a very young age, Ala a knew that his career would be related to women and clothing.

He left home at the age of 15 and went to Ecole des Beaux Arts.

In order to be accepted, he had to lie about his age.

Soon, he found himself very talented in sculpture. He realized that the shape, size and appearance of sculpture were very important to him.

However, Ala a did not choose the path of sculptors.

He has started reading fashion magazines, like beautiful women and obsessed with their long skirts.

He recalls: in order to complete the course, he learned sewing by his sister's help, and also made a dress for the local seamstress to earn 1 francs.

Making money is not the key to Ala a. The key is that he has taken the first step in achieving a wonderful life in the fashion industry.

Although Ala a liked painting, sewing soon became his favorite, and then he found a job at a "copy" of the top two brands in Paris in the late 1940s, Balmain and Dior costumes.

After he was 18 years old, he moved to Paris and got a job in a real Dior company. But the job lasted for only a week. At that time, the relations between France and Algeria deteriorated sharply (eventually leading to a full-scale war). The work permit from North Africa had to undergo a rigorous examination. The documents of Ala a had to be left out because they were found to be "unqualified".

After the introduction of a female friend (his closest friend always seems to be a woman), Ala a began working with Guy Laroche, another famous designer in Paris in the late 1940s.

He became a freelance designer, working for Yves Saint Laurent and Thierry Mugler, and designing clothes for the famous "mad horse" (Crazy Horse) nude Dance Troupe.

He fell in love with this job, because girls would take off most of their clothes when performing. He needed to make them fit for their bodies, especially in sensitive parts of the human body.

By 1970s, the name of Azzedine Ala a was known by the fashion circles of Grace Coddington and New York Times, such as photographer Bill Cunningham and so on. However, most fashion writers and stylists are still unheard of by Ala.

He was very satisfied with this state, but with Pat Cleveland and Naomi Campbell models began praising him, Tina Turner appeared in his golden waterfall mini skirt, and his name hung on every mouth he wanted to be "insiders".

In 1980s, the word "sexy" became popular. No one could be more sexy than Ala a. No one has done this night.

Those who are invited to watch their show usually sit on the ground in his kitchen, surrounded by many cats and dogs, but when they think of so many people being turned away, their only feeling is how lucky they are to be here.

Today, the designer still avoids the trap of stepping into the commercial fashion system, such as taking part in the traditional fashion week.

But since he completed the paction with Richemont Group in 2007, the Azzedine Ala a brand opened a flagship store and launched the first perfume in May 2015. Many people regard it as the first step in the brand expansion plan.

However, Ala a continues its remarkable achievements: the media will focus on the clothes he designs rather than the brands that are formed by clothing.

The designer once said: he thinks he is a creator, but only uses the flexible fabric which can stretch with the body to complete the cloth sculpture.

He likes knitwear, Lycra, soft leather and goat skin, but he also exhibits exquisite skills in handling collapsible, foldable and easy slipping soft silk. The finished products are like Greek sculpture.

At the same time, he also pointed out that the amount of occlusion is as important as the amount of dew.

Therefore, the exhibition of Mark Wilson curator, which is recently named by its long-term exhibition partner, is called "high definition customization / sculpture: Azzedine Alaia in fashion history".

More appropriately, the exhibition was held at the Museum of art in Rome, which lasted until October 25th. The museum is not only one of the most collections of museums in Rome and Greece in the world, but also the works of Antonio Canova, Benigni (Gian Lorenzo Bernini), Caravaggio (Michelangelo Merisi Da Caravaggio) and most Renaissance artists' oil paintings or marble works.

This is one of the most famous museums in the world, and also the perfect venue for displaying Ala a works.

But the museum is not just a reflection of the 65 exhibits of Ala a.

These carefully placed clothes not only bring vitality to the personal works of art around them, but also salute the great collections of great artists.

The effect of each other adds a subtle extra dimension to the permanent collection, and in turn it becomes solemn and tranquil.

As Ala a said, his works must conform to the existing layout of the gallery.

No permanent collection is mobile, but in fact, Ala a has to adapt to the layout of the gallery.

Because most of the collections are full-length, life size or larger statues, most of which are still on the pedestal, so he has readjusted some of his clothes.

"Clothing must match the size of the statue," he said as he stroll around. "Clothing must be discreet and can not be overwhelming. People come to the Museum of art to see these great sculptures, not to look at these clothes."

That being said, in many cases, people will see clothes that are proportionate after adjustment.

Mark Wilson added: "we have no way to let Benigni and Kano watts see the exhibition, but this creates a unique environment for us."

It is an elegant arrangement, a convincing fusion of ancient and modern, and a successful success.

There is no doubt that putting together costumes and masterpieces of art will be faced with great risks.

Before that, the fashion industry has tried many times and achieved different degrees of success, but I am sure that the exhibition will soon be regarded as a benchmark for measuring the success of art and fashion integration, and also for the arts and fashion circles.

No one can be as successful as Azzedine Ala a today.

I recommend designers, stylists, photographers and students to plan a trip to the Museum of art in the museum as soon as possible.