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Azzedine Alaïa(1940-2017)

  • Costume and Wardrobe Department
  • Costume Designer
IMDbProStarmeterSee rank
Azzedine Alaïa was born on 26 February 1940 in Tunis, Tunisia. He was a costume designer, known for A View to a Kill (1985), The Diving Bell and the Butterfly (2007) and Du mouron pour les petits oiseaux (1963). He died on 18 November 2017 in Paris, France.
BornFebruary 26, 1940
DiedNovember 18, 2017(77)
BornFebruary 26, 1940
DiedNovember 18, 2017(77)
IMDbProStarmeterSee rank
Add photos, demo reels

Known for

Roger Moore, Tanya Roberts, and Christopher Walken in A View to a Kill (1985)
A View to a Kill
6.3
  • Costume and Wardrobe Department
  • 1985
The Diving Bell and the Butterfly (2007)
The Diving Bell and the Butterfly
8.0
  • Self
  • 2007
Du mouron pour les petits oiseaux (1963)
Du mouron pour les petits oiseaux
6.0
  • Costume and Wardrobe Department
  • 1963
La voix humaine (2018)
La voix humaine
8.3
  • Costume Designer
  • 2018

Credits

IMDbPro

Costume and Wardrobe Department



  • Prince in Graffiti Bridge (1990)
    Graffiti Bridge
    4.7
    • wardrobe: Jill Jones
    • 1990
  • Disorder (1986)
    Disorder
    6.2
    • wardrobe: Corinne Dacla
    • 1986
  • Vamp (1986)
    Vamp
    5.9
    • grace jones' wardrobe
    • 1986
  • Roger Moore, Tanya Roberts, and Christopher Walken in A View to a Kill (1985)
    A View to a Kill
    6.3
    • additional wardrobe: Grace Jones
    • 1985
  • Du mouron pour les petits oiseaux (1963)
    Du mouron pour les petits oiseaux
    6.0
    • assistant costume designer
    • 1963

Costume Designer



  • La voix humaine (2018)
    La voix humaine
    8.3
    • Costume Designer
    • 2018

Personal details

  • Official site
    • Company (bio)
  • Alternative name
    • Azzadine Alaia
  • Height
    • 5′ 2¼″ (1.58 m)
  • Born
    • February 26, 1940
    • Tunis, Tunisia
  • Died
    • November 18, 2017
    • Paris, France
  • Publicity listings
    • 5 Articles

Did you know

  • Trivia
    Fashion designer.
  • Quotes
    A woman is like an actress, she's always onstage. She has to look great to feel good. If she's going to wear clothes by a designer, ... then the clothes should make something happen, something unexpected. The dress has to be part of her, she has to feel it on her body. ... I prefer the woman to be seen rather than the outfit. Her head, her body, her hands -- the garment is there to cover her, to underline something, and make her beautiful.

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