Last June, Alexandre Vauthier found a new business partner in the California-based Revolve Group. For his first outing in that new order, his longtime colleague and new partner Revolve cofounder Michael Mente arrived on the early side. “It’s so cool to partner on a much bigger level,” he said. “Once we realized there was an opportunity, it became very obvious that we could provide the structure to let him reach his full potential.
”A palate cleanser of a collection marked Vauthier’s return to the fold. It focused on daywear, or pseudo-daywear that’s actually eveningwear, leavened by a few highly worked numbers. The idea, the designer explained backstage before the show, was not to hit full speed straight out of the gate.
“After 15 years as an independent designer, it was time to have an investor who understands the house and wants to stay anchored in a certain reality and longevity,” he said. “It’s like growing a family. It’s got to have a measured evolution.”Until recently, Vauthier had been rocking out with übersexy looks that nodded to Le Palace in its heyday or present-day Courchevel. Save for a frothy bonbon pink feather jacket or a fully fringed number in curled, feathered organza—a look that took five specialized artisans more than 2,000 hours to make—this outing felt distinctly more mature.“
I feel like the world is at a turning point, and so am I,” the designer said. “I sense a shift of attention back to cut, so I wanted to do something extremely elegant that felt extremely exceptional.” He opted for a small presentation upstairs at La Monnaie de Paris, overlooking the Seine. “I don’t feel like the international context lends itself to big shows right now. To me, clothes have to be very targeted, very discreet, and ultra-elegant and Parisian.”
To that end, the cast spanned cultures, ages, and genders, accentuating personality over easily categorized types of beauty. Traces of Vauthier’s formative years in the couture ateliers of Thierry Mugler and Jean Paul Gaultier were evident in tailored flou: A beige bustier jumpsuit in wool gabardine was assembled like a man’s jacket, for example, and paired with slouchy boots in vegan napa leather. Seen from the front, a navy trapeze top in wool silk cady looked arty; the punch line was its sexy deep-V back and tails.
Beautifully cut jackets—such as one worn over a black column dress that flounced from the knees and a suit worn by Audrey Marnay—looked very Parisienne. Vauthier wasn’t the only designer to propose evening gowns with trousers this season; here he paired bubble skirts with some of the best-cut flares to be found anywhere. It will be interesting to see where that idea gains traction. Jewelry, also handmade in Paris, revisited a signature gallet shape—sometimes with a leather sheath, sometimes layered—and produced some dramatic rippled statement earrings. Mask sunglasses, a collaboration with Alain Mikli, can be customized to the wearer both in terms of frame size and color.
Of Vauthier’s vision, Mente observed, “His image of that strong, powerful woman has so much potential across the board. He has that respect for her, and his technical abilities produce this wow [effect] when you put on the clothes. We’re excited to elevate and expand it.” The designer has a loyal following, both personally and professionally; whether the optimal outlet is couture or ready-to-wear (or both) remains to be seen. With time and support, by rights he should be able to land his message.
