From familiar faces to new kids on the block, as part of our Haute Couture series MOJEH.com speaks to the designers making waves in the highest form of fashion. First, Alexandre Vauthier.
‘I never lock myself into categories or ranks,’ Vauthier tells us. ‘I just try to transcribe the world surrounding me, highlighting a certain femininity in an extremely luxurious context.’
A couturier with a decidedly sultry point of view, Alexandre Vauthier is known for his unadulterated expression of glamour. Short skirts, a flash of cleavage and figure-hugging silhouettes are all hallmarks of his work. Having launched his brand in 2009, he has quickly developed a reputation as the king of sex appeal, offering up visions of couture that feel effortlessly youthful and edgy. You might say his customer is the vixen of haute couture, but, for Vauthier, his ‘woman’ is all a state of mind. ‘I find it difficult defining the Alexandre Vauthier woman,’ he explains. ‘If there were a definition, it would be more about an allure than a uniform. If the collections convey youth and radiance, it’s because I always try my best to put forward a certain ease and an allure free from any diktat. I don’t know if sex appeal is important, I only know I am attracted by the woman as I represent her and try to make her as attractive as possible. But if you call it “sex appeal”, why not!’
As the world of couture evolves, Vauthier is perhaps one of the designers most ahead of the grain. While he demonstrates an affinity for the classic sensibilities of the industry – he has previously worked in Thierry Mugler’s design studio and as head couture designer at Jean Paul Gaultier – he is also happy to evolve with changing tastes. ‘Of course couture evolves. Robes still exist, but I believe there is a new approach to couture through the clients. There’s a search for exclusivity and uniqueness but also wearability. People often mistake couture (in the sense of technical know-how) with the couture spirit. The spirit is something that was defined during the Golden Age, with an overload of embellishment and an almost-exuberant opulence. But first of all, couture is know-how. It is a research centre and a laboratory of technical ideas where craftsmanship is the guiding motif. That is what I find interesting about couture.’
