During a visit to the house’s foundation in Paris, Alice Le Ster was immediately drawn to the highly technical assemblage of Alaïa’s designs. The suture stitch she observed allowed her to develop her creative concept further, inspired by 1935 film ‘The Bride of Frankenstein’, in which the monster forces Victor to engender a female partner as deformed and horrible as himself to fill his loneliness. “I questioned the role of the bride, and pushed her feminine role as far as is expected of a woman by imagining a pregnant character,” Le Ster explains. To address the taboos around childbirth and miscarriages, she explored the position of Caesarean section stitches in the body, which informed the placement of her knits in the garment.
Alaïa was often considered a sculptor of the bodies, an idea Le Ster has also infused in her designs. “I personally think that there is nothing more sculptural than a pregnant woman’s body.” But the designer went the extra mile, merging her disturbing fictional universe with the contrasting elegance of Alaïa’s silk dresses, lingerie and lace references.
“The ouroboros, a snake that bites its own tail, represents self-fertilisation and life, but also loss and death.” The resulting piece also incorporated the snake and its symbolism through a 3D knit resembling snakeskin and flowing down the side of the woman’s belly like an old maternity corset. Likewise, she developed a figurative lace on the belly in the shape of a snake ready to bite, a distinctive touch that spreads out to the legs to form the snake’s tail while embracing the woman’s bottoms.