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@ainesbmehdi

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Dearest reader,

I regret to inform you that the most scandalous woman in the county has excellent nails, enormous sunglasses, and absolutely no intention of behaving.

The tea has been poured. The neighbourhood has been notified. Five marriages have been discussed before dessert.

My latest dispatch examines Warda Charlomanti, the Raï baddie, and the rather outrageous notion that a woman might simply continue living after society has decided she has been sufficiently humbled.

Naturally, I have approached this matter with the seriousness it deserves.

Please read before Mrs. Bennet hears about it. ☕️🎀

THE RISE OF THE RAÏ BADDIE: The Charlomanti Effect out now. by @ainesbmehdi

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14 days ago

Nous nous sommes aimés loin des regards et des paparazzis by @ainesbmehdi

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16 days ago

There comes a time in every woman’s life when the gentlemen and the girlies must convene, because apparently we can no longer decide whether a man opening a door is an act of courtship, a vestige of patriarchy, or simply evidence that his mother raised him properly 🤔

Somewhere between the North African auntie’s forensic assessment of a man’s table manners and the modern woman’s PhD in self-sufficiency, we seem to have turned romance into a constitutional debate.

This piece is about the deliciously complicated territory between “I don’t need you” and “but I do enjoy being courted.” The flowers. The bill. The door. The suitcase. The suspiciously endangered species of man who actually plans the evening.

Because perhaps feminism was never meant to make us allergic to receiving. Perhaps autonomy is not the obligation to do everything yourself, but the freedom to decide when you’d rather not 🤷🏼‍♀️

Anyway, I have a bank account, a passport, and opinions about capitalism. Let the man open the door.

Read: Is Chivalry Sexist? ✍🏼🤔

#chivalry #feminism #writing by @ainesbmehdi

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24 days ago

it's 2006. donatella's in her glam era and tom ford just left gucci. by @ainesbmehdi

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2 months ago

If you've ever been on the other side of the Mediterranean you'd know North Africa isn't underrated. It's under Narrated. Somewhere along the way, we confused branding with geography and started treating the Mediterranean as if it only became desirable once it touched Europe. The same sea, the same light, the same slow afternoons, but one side became a lifestyle and the other a footnote.

Tourism is often just geopolitics with better typography. by @ainesbmehdi

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2 months ago

There are collections… and then there are farewells.

This one was both.

The final chapter of Pieter at Maison Alaïa was titled Swan Song. And what a profoundly accurate name it was.

A swan song is never loud.
It is precise.
Quiet.
Almost sacred.

Watching the collection unfold, you realize something: this was not just a runway. It was a summary of a philosophy.

From the first looks, those stripped-back, clinging dresses that felt almost like pure anatomy, to the sculptural coats and draped gowns, the message was unmistakable: fashion reduced to its most essential language.

The house has always spoken through the body.
Through tension.
Through restraint.

That legacy began with Azzedine Alaïa, whose work celebrated the female form with almost architectural precision.

And Pieter understood that better than anyone.

His swan song revisited the codes of the house sculpted tailoring, body-hugging silhouettes, disciplined structure, but softened them with movement and emotion, like a final breath before the page turns.

But the moment that moved me the most was not the clothes.

It was the walls.

Every screen in the room carried portraits of the atelier, pattern cutters, tailors, technicians, the people whose hands actually build fashion. It was a reminder that a house like Alaïa is not a designer alone. It is a collective act of devotion.

And that is the lesson I carry with me.

Alaia teaches us that real luxury is not excess.
It is editing.

It is knowing when to stop.
When a seam is enough.
When a silhouette speaks louder than decoration.

Fashion is an industry obsessed with beginnings, new seasons, new trends, new directors.

But this show reminded us that endings can be the most beautiful thing in the world. by @ainesbmehdi

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7 months ago

We always talk about crafting a narrative through cut and color, but this moment in Venice felt like the dress told its own story, and Amanda was the voice of that story. The dress was draped in liquid navy silk gabardine, sleek and saturated, with bold covered buttons tracing a disciplined spine down the strapless bustier. Then came the vermillion bow, pinned right at the chest, its ribbons cascading like brushstrokes, only to reattach as unexpected trim along the skirt. It’s a small theatrical flourish a nod to ecclesiastical vestments reimagined for modern romance, a tongue-in-cheek wink to tradition decloaked in freshness.
the bow matching the lining’s scarlet depth, matched only when Amanda lifted the skirt mid-moment, revealing that hidden heartbeat. Partnered with black platform sandals and a velvet choker crowned with a diamond-and-crystal leaf; details that honored both minimalism and ornate refinement.

We know Venice doesn’t merely showcase clothes; it demands poetry. This dress wasn’t just worn, it conversed.

@prada @venice.film.festival by @ainesbmehdi

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a year ago

Il mondo è tuo 🦪 by @ainesbmehdi

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a year ago

Bond Girl autumn launched. by @ainesbmehdi

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2 years ago

Last summer rays. by @ainesbmehdi

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2 years ago

More than just clothes, the new daring collaboration with Crazy Horse Cabaret ushers Alaïa into a visionary new era - one where fashion dances with beauty, inspiration, and the daring spirit of contemporary artistic expression. An absolute must-see for fashion,art and cabaret connoisseurs in Paris this season ❤️

In the realm of entertainment as well as in the hearts of fashion creators, Crazy Horse Paris holds a special place. A true temple of sensuality and femininity, where every corner exhales history and glamour, it has become a boudoir in the heart of Paris. From its early moments, it has been the sanctuary of the world's most beautiful women, a place where grace and art intertwine in an enchanting dance. So it's only natural that fashion found its place there, forging close ties with the cabaret since 1951. From Cristobal Balenciaga to Paco Rabanne, including Karl Lagerfeld, this institution has been the stage for iconic collaborations. And for Alaïa, this place was more than just a stage and spotlights; it was a classroom where he learned to understand and appreciate the beauty of the female form.

Azzedine Alaïa himself was much more than a mere couturier; he was a true sculptor of the female body, an artist whose creations elevated the silhouette and celebrated the natural beauty of women. His mastery of couture and precision in details allowed him to create pieces that were both timeless and revolutionary. His approach to bespoke tailoring, shaped by years of learning from women, gave him a profound understanding of how clothing could enhance the female figure. When he designed costumes for the Crazy Horse dancers in 1979, he understood the importance of showcasing bare skin and elegantly and sensually accentuating feminine curves. His creations were literally drawn on the body, with seams and volumes that seemed to perfectly embrace their forms. His work was a perfect fusion of fashion and sculptural art, where each piece was crafted to highlight the natural beauty of the wearer.

@maisonalaia
@crazyhorseparis_official by @ainesbmehdi

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2 years ago

Oui. by @ainesbmehdi

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2 years ago