Sofia Crociani (Aelis): “Utmost technical rigour enables unbridled creative freedom.”
Sofia Crociani, founder and artistic director of Aelis, combines artistic sensibility and innovation in a vision deeply committed to sustainability. Since the creation of the House in 2017, the brand has been invited to the Official Calendar of Haute Couture Week since 2019. Driven by the conviction that Couture creations are, and should be perceived, as works of art, an approach she refers to as “Art-to-wear Couture.”
For the Spring-Summer 2025 collection, Crociani drew inspiration from two 19th-century dresses sourced from her personal archives. “These are exceptional pieces that carry a unique emotional power.” Much more than a simple reinterpretation, her work plays out as a creative dialogue between the history of these pieces and the modernity of her designs. “It's a double game that we're trying to stage. Between the emotion of the past that these pieces contain, and the contemporary impetus that we give them through our work.” Each stage of the creative process fuses heritage and innovation, bringing to each piece “both the historical emotion and the contemporaneity that we bring to it through our gesture.” The idea of “Art-to-wear Couture” is reflected in each garment, which, through its mastery of craftsmanship, carries a story, timeless testimonies.
In keeping with the desire to pay tribute to culture and art in all its forms, Aelis is furthering its collaboration with the Opéra Bastille, which began last year. “We have very prolific creative exchanges. These exchanges are essential in the reinterpretation of archive pieces and costumes used for operas and ballets.”
“Crafts, the métiers d'art, produce artworks. And an artwork never dies.”
Aelis creations emerge from an exchange with the material itself. “We work with fabric freely. We suspend it, without necessarily having a shape underneath. We need the freedom of air passing through the fabric,” explains Crociani. This innovative approach is in line with the maison's philosophy: each piece must breathe, be shaped, sculpted according to the sensibility of those who create it. “It's impossible to remain insensitive when you have a Couture piece in your hands,” she sums up.
“We're getting back to the idea of sculpture, of going out and shaping the material.” A dialogue begins with the material, which expresses itself and must be carefully followed. “That's the most important thing, to get back to authenticity, of our behaviors, of what we experience.”
Crociani, who previously worked as a stylist at Dior under the direction of John Galliano, has a perfect grasp of the complexity of the creative process and the essential preparatory stages prior to confection. She recalls with wonder “the beauty, the magic of the great Couture ateliers,” where every step, from inspiration to preparation, is essential to the fulfillment of the creation. After pursuing her career as an independent designer, she founded her own consulting company and worked for over ten years with legendary figures such as Karl Lagerfeld. “I've traveled all over the world to nurture creative processes. It's a very important step in our work. It's from this inspiration, from emotion, that everything stems.”
“By honouring the past through upcycling, we look to the distant horizon with futuristic technology.”
Couture is a discipline inherently sustainable, as each piece is exclusively tailored to each client. These are pieces designed to last, to be passed down through generations. Innovation plays a crucial role in this sustainability approach. For Crociani, upcycling is a valuable solution, but it’s not enough on its own. She is convinced that the future of fashion lies in technological innovation, particularly through collaboration with researchers and scientists. A notable example is her collaboration with the Hong Kong Polytechnic University, which resulted in the creation of an ultra-tech fabric by infusing gold and silver particles into natural silk produced in Italy, without using chemicals or water. “The fabric remains incredibly flowy and delicate. It's fantastic, and more and more leading universities are exploring ways to apply their innovations to the textile sector.”
“We have provided the artificial intelligence with all of its knowledge. It’s a fantastic tool. How could we imagine enduring something we have created ourselves?”
“We are also developing a project based on artificial intelligence,” says Crociani, emphasising that when technology is used responsibly, it can push the boundaries of creativity while still respecting the planet.” These tools, which have taken the world by storm, continue to stir up fears and doubts. "They are incredible tools if we use them with awareness. We created them, and now we must learn to master them." She also advocates for a more ethical approach to materials, with collaborations on products like sustainable merino wool, cultivated with full respect for animals and natural cycles. What’s more, Aelis prioritises bio-sourced and eco-responsible materials in all of its creations. “When choosing our fabrics, we work with suppliers who have an ecological awareness and whose materials are bio-sourced.” For instance, traceable fabrics, guaranteed to be free from pollution, are used to ensure the durability of each piece.
Currently, Crociani is participating in the collaborative exhibition, “The Guiding Thread”, which is taking place at the Suzanne Tarasieve Gallery in the 3rd arrondissement, until March 8th. The exhibition brings together some 30 artists, including Eva Jospin, Anne Imhof, Juergen Teller, and many other key figures in contemporary art. Suzanne Tarasieve, the visionary and flamboyant gallery owner who passed away in December 2022, always placed friendship, transmission, and generosity at the heart of her work. She remains a reference figure in the world of culture. For this exhibition, Crociani is showcasing a piece crafted from albatross feathers found on a beach in Normandy. “These wonders are honoured with the sensitivity that connects all humans with nature.” This piece is also a tribute: “Suzanne wore it for the gallery’s 40th anniversary. It’s this soul that clothing takes on, especially Couture garments, which already have an artistic connotation in themselves. This soul that flows through the clothes. You can see it when clothes take on a life of their own. And in Suzanne’s gallery, the garment is simply suspended.” A garment that, having been worn, upholds its primary function as clothing, while simultaneously existing as a work of art now on display, both dimensions interwoven.
Reuben Attia.