The ArdAzAei effect: A celebration of craftsmanship and creativity at Paris Fashion Week

On Tuesday 4th March, mere hours before the hubbub and glamour of Paris Fashion Week began, an intimate group of fashion-minded individuals gathered in a garden courtyard just off Place de la Concorde. The reason for their gathering? A cocktail party hosted by Vogue Scandinavia and esteemed ArdAzAei, set to usher in the final leg of fashion month.

Those who had yet to succumb to fashion fatigue immersed themselves in the plush Couture and Prêt-à-porter of ArdAzAei, sustained by lashings of champagne and the company of countless creatives – each brimming with energy, eager to take in all the house had to offer, bathed in the warm purple glow of the interiors. The house’s Swedish-Iranian artistic director, Bahareh Ardakani, invited guests to feast their eyes on designs adorned with crystal-like floral embellishments, exquisitely pleated jackets, and razor-sharp tailoring, all elegantly displayed in the house's Parisian boutique. Among those revelling in the spectacle were legendary editor Hamish Bowles and his Vogue US colleague Virgina Smith, Björk's stylist Edda Gudmundsdottir, and Vogue Scandinavia's own editor-in-chief, Martina Bonnier, who wore a fishtail lilac organic dress with floral detailing – courtesy of the designer.

Having collaborated on numerous occasions – most recently to dress Bonnier for the Nobel Prize Gala in Stockholm – the partnership between the house and the magazine was, as Ardakani puts it, “natural.” “We share the same values of craftsmanship, innovation, and sustainability,” she says. “Martina has been a great supporter since day one, so it felt only natural for us to bring people together for this collaboration.”

According to Bonnier, Ardakani’s talent extends beyond simply creating couture. “I have been working with fashion in Sweden and Scandinavia for all of my professional life, but Ardakani is something different,” says Bonnier. “She is representing something new in Scandinavian culture. To have someone come in and say, I want to do couture, and good tailoring, to resource good fabrics and put energy into every detail – it is is courageous, brave and very interesting. Hopefully we will see more of it in Scandinavia soon.”

For Ardakani, her creative and love of fashion were nurtured from an early age. “When I was a kid my mother would create dresses for me,” says the designer. “I grew up with two brothers and they would always have jeans and T-shirts so that is what I wanted: no dresses. She would try to convince me, though, to wear her pieces.” With her mother’s penchant for clothing, and her father working as a pastry chef, creating elaborate pastries by hand, Ardakani’s flair seemed inevitable.

Whilst she studied design engineering, the designer soon began her journey to become a stylist. “I was just so curious about how to combine things,” she said. “My first job was in Gothenburg, in a rented art space filled with a creative collective of people; it was an amazing atmosphere. They let me have my playground there.” From that time, the then-stylist built a list of clients working on music videos, shows and campaigns.

“At some point, I decided to change direction,” Ardakani recalls. “I didn’t just want to be a stylist; I wanted to create the pieces. I met a friend who designed jewelry, and it's a strange thing but I found myself inspired by the stone.” That spark led her to study gemology. “It was wonderful to discover a material made by Mother Earth – so amazing and so timeless, reflecting everything.” From that moment, Ardakani embraced the idea of founding her own fashion house. “It’s funny how life works,” she muses. “It started with a stone, and that stone led me to a place where I wanted to create my own symmetry – like the patterns I saw within it. Today, that symmetry is the emblem of our house.”

With her “obsession” that began with gemstones, it may seem surprising that Ardakani never ventured into jewellery design, aside from a single amulet. Instead, she channels her fascination into the colours and energies of the stones she adores. “The purple of ArdAzAei is connected to the amethyst that first inspired me,” she explains. “Purple is a colour that has always followed me in life. It symbolises creativity and wisdom; it’s all about magic and mystery. I think it represents the perfect balance – like the balance of energies. It became a foundation for me because when I finally understood what I wanted to do, I felt a sense of harmony within myself.”

Yet when it came to presenting her designs, Ardakani struggled to find her place in her home country. “I tried to start in Stockholm, but I quickly realised I didn’t have the right resources there,” she admits. That realisation prompted her to take her sketches to France, where she met with suppliers and established herself in Paris. “I had to walk by myself,” she says.

One particular manufacturer took a liking to Ardakani and her designs. Though he typically worked only with the largest couture houses in France, Tristan Henner took a chance on her. “He invited me to his atelier space,” she recalls. “He told me, ‘Here, you have a development team,’ and suddenly, possibilities opened up.” It was in this atelier that the house’s signature Artemisia jacket came to life. “I learned tailoring by watching them. I questioned everything – I was super curious. With my background in design engineering, I’ve always been driven by the mechanics of silhouette creation.”

Reflecting on Henner’s early support, Ardakani says, “He gave me a chance, and I think he’s happy to see what we’re doing. He remains one of my biggest suppliers and supporters. You never forget those who helped you at the start.”

From the very beginning, Ardakani has been unwavering in her commitment to quality. “It has to be perfect,” she insists. “I refuse to compromise on quality or produce in large quantities – that’s not what we’re here for. We’re here for exceptional tailoring, sculptural silhouettes and organic creations that people will return to. Couture exists at such a specific level of artistry, and customers are showing a renewed appreciation for pieces that are handmade, that feel like works of art.”

For ArdAzAei, Prêt-à-porter is a natural extension of Couture – a philosophy Ardakani is committed to maintaining. “For us, they are intertwined,” she explains. “A dress that takes 900 hours to create – you can wear it daily, but realistically, you probably won’t. It’s like a sculpture, a testament to quality. And from that, perhaps you choose to buy something else. It’s our way of telling the story of the house and expressing what we want to create.”

ArdAzAei has presented Couture off calendar since 2022 and was invited by the Fédération de la Haute Couture et de la Mode to join the Official Haute Couture Calendar as a guest member in June 2024. “The sky is the limit,” Ardakani says. “I like the idea of being a free spirit. If I find something interesting and want to release a small drop, I will. I want to expand ready-to-wear and venture into accessories, but for me, it’s always about doing things well – not rushing. It has to be perfect, so we take our time. ArdAzAei is a house that can evolve in many directions. It’s more than fashion – it’s a mentality, a way of thinking.”