The Creator Behind Alia Archive

Interviewed by Esme Carty

Photographer - Samantha Allen

I: What was your first standout memory of fashion?

AS: I would say my first standout memory would probably be like 13 years old seeing RuPaul’s Drag Race for the first time. 

I: What a great standout.

AS: Season three–still my favorite–is the season Raja [Gemini] won. Manila Luzon. That was like when fashion went from clothes to transformation. That’s when I saw you really can dictate who you are. Seeing clothes become a superpower, that’s when things changed from clothes to becoming.

I: I love that so much, how did you get into collecting archival?

AS: It was just kind of over the years, I’ve been a personal stylist for more than ten years now, and you would come across these pieces, even if it wasn’t what my client was looking for you would stumble upon them. Even if they weren’t my size or it didn’t make sense, I would get them. It became something like collecting art. It was something I wanted to preserve and have near me and look at. It just became an appreciation of art.

I: It is art for sure! What is your favorite piece you’ve collected thus far?

AS: It’s like asking to pick a favorite child! I love them all for such different reasons, they’re all so different. I would say the ones that always stick out to me are the ones that you can tell someone spent hours doing. Whether it’s hand embroidery, hand applied applique, a very complex network of inner suiting. Whether it’s boning or an interior bra, it’s so so cool to see human passion went into this and you can feel that when you see these pieces. 

I: In this day and age of fast fashion, do you try to shop at places where you can see that there’s been more effort put in, in terms of human craft?

AS: Oh absolutely. I wouldn’t say I’m anti-fast fashion, I do see where it serves its place for people who don’t have access to couture. However, I do appreciate somewhere that’s really taken time to dedicate a space to these things in the craftsmanship. For some of these pieces, it takes hours to make even if it isn’t a couture piece, even crocheting something. It’s just so many people create these spaces to honor something that didn’t come out of a conveyor belt. That’s why I love seeing places like Newell Vintage, her [Madalynn Newell King] having that same philosophy of going and selecting.

I: What is a dream piece you would like to have in your archive, whether it is a certain designer or a specific piece?

AS: I don’t know if I can even say a specific piece. I think it would be something that really encapsulates Haute Couture. The era of when designing was about creativity and not for it to be capitalized, to be made money off of. I feel like so many fashion houses and approaches to fashion have become so commercialized. It’s become something of a machine, where there is no room for creativity to grow. You can’t go, ‘I need 60 ideas by the end of this week,’ it’s so inorganic. Timing is so important to allow for these things to be created. 

I: How much research goes into a piece upon acquiring it?

AS: I would say that the research is the most important part of the job. One deep cut photo of someone wearing it, in a certain setting on a runway, completely changes the trajectory of the piece. It goes from a piece of clothing into an artifact. That research is probably the most important.

I: What motivates you to be in the fashion industry or when you were starting out what motivated you?

AS: What motivated me initially and will continue motivating me is more than just the clothes, it is helping these women transform. Especially with couture pieces, it is a transformation of confidence, of posture. The second these women put on one of these pieces, it’s perfect: like, that’s a diva. The whole posture changes, and being a part of that transformation is so special. 

I: I know that must be a huge part of being a personal stylist, is seeing someone not having much confidence and then putting them in something where they see themselves for the first time. 

AS: It’s the most beautiful thing. That’s why I continue to do it. These pieces are so alive and are created to create such an illusion–it’s beautiful on the hanger–but when you put it on a body, oh my gosh it just comes to life. 

I: If you had the power, what is one thing you would change about the fashion industry?

AS: We touched on it a little bit, but just slowing down. Creating that space for creativity, that time. I think the speed and the need for production stifles creativity. For a lot of those big brands, they’re not even halfway through the current season and they’re already working on the next season. Slowing it down and allowing for that time would be beneficial for all. 

I: I totally agree. What advice would you give to someone who’s looking to collect couture or work in fashion in general?

AS: I would say for couture, don’t rush yourself. These pieces don’t just come up every single day. Invest mindfully and don’t expect to have this crazy collection over night, or even in a year. Give yourself time to connect with these pieces and don’t just grab one because it’s a good filler. Most of the pieces that I got, when I first looked at them it brought a tear to my eye. It’s letting yourself have that emotional connection and then going from there: is this realistic for me right now? Is it within my price point? Investing mindfully is probably one of the most important things.

I: Have you collected from all over the world? 

AS: The majority of my pieces that are in my showroom right now are from Paris. I spent a month in Paris and just collected so many amazing things. I’ve been traveling ever since I was a little girl, my Mom is from Germany so going to Europe has always been a part of our life. It’s a lot more accessible in Europe for these types of pieces. If you’re going to France, you’re going to find French designers like Christian Dior. Whereas you go to Italy, you’re going to find more Roberto Cavalli. It’s really fun to turn these normal family trips into popping in somewhere and discovering this crazy piece just on a rack somewhere. As an archiver I’m like, we need to get this out of here, get this stored properly. It’s really cool especially since you don’t find that as much here in Arizona. 

I: I love that, that concludes our interview!

AS: I love talking about this stuff, it comes up so naturally!

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