The Belgian designer takes a dramatic final bow, distilling a far-reaching legacy into a crisp campaign lensed by Steven Meisel.

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A model poses in a conceptual white look and red, flappy fringe tights in the final Alaïa campaign by designer Pieter Mulier
Alaïa Winter/Spring 2026. All photography by Steven Meisel and courtesy of Alaïa.

Alaïa has invited us into its last chapter with outgoing designer Pieter Mulier—a reflective adieu for those attuned to its codes and a nod to his final collection with the house, which will debut during Paris Fashion Week on March 4.

The Winter/Spring 2026 campaign was lensed by the legendary photographer Steven Meisel, a creative whose history with the House dates back to its first decade. Just five years into the reign of the “King of Cling,” Azzedine Alaïa, Meisel shot the young model Sean Bohary and the otherwise unattributed, but widely recirculated, “Kurt and John” in 1987.

Mulier would join Alaïa just over three decades later, following the unexpected death of its namesake designer and the studio team’s creative direction stint from 2017 to 2021. The designer had cut his teeth at Raf Simons’s eponymous brand, and quickly become his fellow Belgian’s right-hand at Jil Sander and Dior before his serving as Calvin Klein’s global creative director under him. At Alaïa, Mulier was tasked with delivering not only continuity but the kind of boundary-pushing authorship that could meaningfully propulse the House’s vocabulary into the zeitgeist.

It’s no secret that the designer delivered on this assignment. From his trend-setting accessories—Le Teckel and the mesh ballet flats that inspired a knock-off movement among them—to his sculptural inquiries into couture, Mulier became a favorite of the fashion holy trifecta: the critics, the celebs, and the Internet. The Fall/Winter 2026 campaign is an homage of sorts to his greatest hits at Alaïa and a testament to the House’s ability to meet each moment.

A model poses with a bag in the final Alaïa campaign by designer Pieter Mulier

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