"Body consciousness is a fashion idiom so overused it has become virtually meaningless: after all, what does it really mean to be conscious of your body, and how to reflect that in clothes? It isn't just about something tight - although Azzedine Alaïa was hurrahed, in the 1980s, as the original 'king of cling', the torsion of his silhouettes was conscious of the body in a deeper, more meaningful way."
"Pieter Mulier was fixated on the idea of tension this season - yet, in a wider sense than just body and cloth. "A tension between genders, between excess and restraint, covering and revealing, between our history and our future, cultural forces," he stated before his latest Alaïa show, encompassing a sweep of themes and ideas expressed through clothes that were conscious of the body in multiple manners."
"Yes, some dresses were tight - extraordinarily so. Those pieces were tugged around extremities in extreme fashion, capes stretched from fingertips and skirt hems pulled tight, intentionally hooked under heels like a wardrobe snafu refined to couture level. Those dresses looked like second skins, yet will transform and release as soon as a woman sits, moves her arms, or indeed lives her life."
Body consciousness is a fashion idiom so overused it has become virtually meaningless. Azzedine Alaïa's torsion silhouettes used suspended points, rippling taut bands of fabric and intricately engineered pattern pieces to ebb and flow with movement, emphasising and embracing through restriction and release. Pieter Mulier foregrounded tension across genders, excess and restraint, covering and revealing, and between history and future, using clothes to manifest these oppositions. Garments ranged from extraordinarily tight, second-skin dresses and capes hooked under heels to draped pieces with hand-blown glass décolletage panels, loose wide-hipped trousers lassoed to the ankle, sliced ball skirts and widely cut papery cotton jackets.
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