Fashion

New Exhibition Exploring Azzedine Alaïa’s Fascination with Africa Opens

Fondation Azzedine Alaïa’s exhilarating show opens just in time for Haute Couture Week in Paris

July 7, 2026

Fashion exhibit Azzédine Alaïa et l'Afrique showcasing a variety of elegant dresses in a well-lit hall with intricate architectural details. — Azzédine Alaïa et l'Afrique by Saï. Photo: Courtesy Fondation Azzédine Alaïa

Azzedine Alaïa left his native Tunisia at 21 for Paris, where he lived until he died in 2017. However, the country of his birth and the continent of Africa were omnipresent in the designer’s spirit and fascination. The latest exhibition at the Fondation Azzedine Alaïa in Paris, “Azzedine Alaïa and Africa,” curated by Olivier Saillard—the foundation’s president, alongside Carla Sozzani—explores the rich cultural influence that imbued the couturier’s work, following a trip to the continent with renowned photographer Peter Beard.

The exhibit opens with the designer’s nostalgia for the mashrabiya, carved-wood latticework over windows, designed to help cool buildings from the intense African sun in Tunisia and elsewhere. These are translated in various ways on garments, whether woven into fringed leather or laser-cut in white cotton.

Golden chainmail Azzedine Alaïa garment with fringes displayed on a black stand against a dark background, from the Fondation Alaïa exhibition in Paris. — Azzedine Alaïa Haute Couture, Sping-Summer 1989 Photo: Courtesy Azzedine Alaïa

Azzédine Alaïa dress featuring long, flowing blonde strands on a mannequin against a textured background, from the Fondation Alaïa exhibition in Paris. — Azzédine Alaïa et l’Afrique. Photo: Fondation Alaïa / Stéphane Aït Ouarab

Long-sleeve Azzédine Alaïa orange dress on display against textured backdrop, from the Fondation Alaïa exhibition in Paris. — Azzédine Alaïa et l’Afrique. Photo: Courtesy Azzédine Alaïa

According to Saillard, it was one way the continent inspired designs that were not clichéd, and he noted that Alaïa’s imagination also extended beyond Tunisia.

“For many people, African fashion means what Saint Laurent did with Moroccan-influenced styles, but for Azzedine, it meant Tunisia, Egypt, and Sub-Saharan Africa, not just the caricature of African,” the curator said.

Crocodile Azzédine Alaïa leather coat with exaggerated collar on a stand against a textured background, at the Azzedine Alaïa and Africa exhibit in Paris — Azzédine Alaïa et l’Afrique. Photo: Courtesy Fondation Alaïa

That said, a large portion of the work comes from collections made in 1988, 1989, and 1990, and features details of the large and diverse continent. Highlights include a rope-fringe-trimmed red bustier dress, a pony skin and horsehair fringe dress, shell beading on an elastane knit skirt and bra set, completed with an open-construction safari cargo vest, a red python wrap dress, and a metallic gold evening openwork gown befitting Cleopatra’s breastplate necklaces or the Dzilla rings worn by the Ndebele people of Southern Africa.

Saillard distinguished Alaïa’s use of black as specific to the continent. “It’s not a black that a Belgian designer, for example, would use. It very much belonged to Azzedine. I tried to see how Africa was in the back of his mind,” he said. Fine ebony knits trimmed with raffia tassels, or a tailored tailcoat with a crocodile-skin appliqué, are Exhibit A. Even the bandage dress, also on display, owes its due to Egyptian queens and pharaohs.

Two white dresses Azzédine Alaïa displayed on stands in front of textured backdrop in a minimalist gallery setting, at the Azzedine Alaïa and Africa exhibit in Paris. — Azzédine Alaïa et l’Afrique. Photo: Courtesy Fondation Alaïa

Sculptural Azzedine Alaïa bandage dress on a mannequin against a dark background, showcasing intricate design and form-fitting style, at the Azzedine Alaïa and Africa exhibit in Paris. — Azzedine Alaïa Prêt-à-porter, Printemps-été 1990. Photo: Courtesy Fondation Alaïa

The curator had to imagine the late designer’s thoughts, since Alaïa was not a traveler. “He used to say he traveled in his chair,” Saillard continued, referring to his drafting table and sketch pad.

However, he did take one unforgettable trip with the photographer Peter Beard—hence the seminal styles that followed, starting in 1988—at the behest of Elle France in 1986. The duo and crew traveled through the Turkana lands among the Samburu, a closely related tribe to the Maasai. The resulting editorial and artifacts of its creation are also on display. Beyond the culture, clothes, and accouterments, Alaïa was struck by the simple yet elegant gesture of the people, who said, “They have the most noble way to walk.” Alaïa’s 90s supermodels—side bonus treat: naming them—featured in the exhibit via an archive of runway footage captured it perfectly.

Exhibit of Azzédine Alaïa vintage dresses displayed on mannequins with abstract textile backdrops, at the Azzedine Alaïa and Africa exhibit in Paris.

Azzédine Alaïa et l’Afrique. Photo: Courtesy Fondation Azzédine Alaïa

Exhibition display of Azzédine Alaïa vintage fashion dresses on mannequins against artistic backdrop, at the Azzedine Alaïa and Africa exhibit in Paris.

Azzédine Alaïa et l’Afrique. Photo: Courtesy Fondation Azzédine Alaïa

Exhibit of four Azzédine Alaïa artistic black dresses on stands with textured backgrounds in a gallery setting, at the

Azzédine Alaïa et l’Afrique. Photo: Courtesy Fondation Azzédine Alaïa

Azzédine Alaïa fashion exhibition display with various textured garments on mannequins in a gallery setting, from the Fondation Alaïa exhibition in Paris.