Exhibition Review: Alaïa Foundation Exhibition in Paris Stages Dialogue Between Two Masters of Haute Couture

Philippe Fortunato, Chief Executive of Fashion and Accessories Maisons at Richemont, recently described the Azzedine Alaïa brand as “a house guided by timelessness, independence, and exceptional savoir-faire”. That assessment finds tangible expression in the current exhibition at the Fondation Azzedine Alaïa in Paris.

Left: Christian Dior - Boutique ca 1957 - Cocktail dress in red silk satin. 
Right: Azzedine Alaïa  - Haute Couture 1958 - Formal afternoon dress in red silk faille.

Titled “Azzedine Alaïa et Christian Dior : Deux Maîtres de la Couture” (Two Masters of Haute Couture), the show is being held at the foundation’s headquarters in the Marais district. It presents an elegant curatorial dialogue between Alaïa and Christian Dior, two designers separated by decades yet united by a shared commitment to structure, silhouette and craftsmanship.

At the heart of the exhibition is Alaïa’s long-standing admiration for Dior. The scenography has been described as poetic and reverential, with floral motifs and suspended dresses used to evoke couture as a form of living sculpture. Rather than positioning Alaïa as a follower, the exhibition underscores his distinctive interpretation of Dior’s influence, highlighting emotional resonance over imitation.

Intimate in scale, the show offers visitors a close-up encounter with nearly 70 designs by the two couturiers. Instead of a chronological survey, the exhibition is conceived as a visual conversation, examining parallels in aesthetics, technique and shared values in cut and construction.

Left: Azzedine Alaïa - Ready-to-Wear SS 1992 - ensemble in black cotton satin.
Right:  Christian Dior - "SONATICE" Ligne Fiseau Haute Couture AW 1957 - Evening
dress in black silk velvet.

Visitors have remarked on the surprising stylistic affinities between the designers, noting similarities that at first glance may appear derivative but reveal themselves as respectful and interpretive echoes. Many have described the exhibition as deeply moving, particularly given its setting in Alaïa’s former home and atelier, which lends a personal and atmospheric dimension to the presentation.

While Alaïa and Dior might initially seem distant in style, the exhibition reveals profound aesthetic and historical proximities. “Formal agreements, colour combinations, similarities in ornamentation and inspiration attest to the reconciliation of fashion and time that these two great masters naturally led and governed,” said curator Olivier Saillard, director of the Alaïa Foundation.

Throughout his life, Alaïa acquired more than 500 Christian Dior designs, preserving them from potential loss or dispersal. A devoted admirer of Dior, he shared the founder’s predilection for accentuated waists, sculpted shoulders, curved hips and voluminous skirts. The two designers were also united by a refined approach to fabric and colour, including a marked use of black and grey in multiple shades, transforming garments into enduring statements of couture.

“Azzedine Alaïa et Christian Dior : Deux Maîtres de la Couture” runs until May 24th 2026.

Images by Lucia Carpio