9 posts tagged "Alexandre Vauthier"
Alexandre Vauthier has been getting major play in Paris this week, from the python bomber Rihanna wore onstage at Bercy concert hall last Tuesday to the blue draped number worn by Emmanuelle Seigner at the César ceremony—the French Oscars—on Friday night.
In his showroom last week, the designer mulled the attention the music world in particular has brought him. “People say it’s super-sexy, but for me I just want to make women beautiful. When they are happy, I am happy. I’m working, that’s all.”
Vauthier has several things for Fall that are sure to make ‘em happy, onstage or off: The designer has been tailoring his jean shape (“not too high, not too low, and they lengthen the leg”); sharpening his smoking jacket; spinning out couture ideas on ready-to-wear basics like cocktail dresses with woven leather at the waist; and come up with his first RTW biker jacket. Another talking point: Vauthier’s Day 7 bag, which, thanks to clever stitching and hidden handles, does double duty as a roomy handbag by day or a clutch by night—perfect for the busy pop star on-the-go.
This month at the Fall ’13 Couture shows, a string of designers skipped the strapless cut and instead embraced a crisscross or strip of fabric just above the heart. “The cross-body neckline is a modern look at Couture,” stylist Jessica de Ruiter explains. “It allows for a flash of skin despite the dress being quiet, covered with long sleeves, or classic in its silhouette.”
At Atelier Versace, Donatella deftly proved her hand at Couture (having returned to show again in Paris only a year and a half ago) with a striking body-con number featuring open panels, which, to de Ruiter’s point, revealed nothing and everything all at once. Subtle seduction appeared at Bouchra Jarrar, too, where the designer paired the cross-my-heart neckline with menswear separates, tempering its overt sex appeal with trousers. And Alexandre Vauthier brought a new draped take to the trend, artfully crossing the fabric over the chest while still leaving plenty of skin on display. The design even made its way across the Atlantic, landing on Catherine Zeta-Jones at New York’s Red 2 premiere. She donned a revelatory Michael Kors (from Fall ’13, no less) that kept the trend on track despite New York’s near-triple-digit weather.
The 66th Annual Cannes Film Festival wrapped on Sunday—and by all counts, it was a relatively mellow one (save the Chopard diamond heist—nothing like a little high-wattage-glamour drama). Sartorially, the requisite pageantry was all there—big dresses, big hair, big lips—but an often laid-back, sometimes femme fatale trend had its moment on the Riviera red carpet: pants.
Tilda Swinton (above, left) challenged conventional gala dressing with a gold-sequined pajama set by her pal Haider Ackermann (her twisting, teased platinum coif deserves an honorable mention, too). The silhouette was hyper-casual; the overall look, however, was exquisitely luxe—Swinton’s a bit of a miracle worker when it comes to mixing things up for the flashbulbs. Chinese pop singer and actress Li Yuchun (above, right) sported trousers twice for her turns in the spotlight—one look, tapered Givenchy Haute Couture britches under a fringed top, and the other, blood-red Gareth Pugh bell-bottoms that matched the carpet below. It was a chicly chameleonic moment. Hungarian model Barbara Palvin (above, center) looked right at home in a razor-sharp Alexandre Vauthier suit, her cropped drainpipes grazing a pair of killer, gold-strapped heels. And finally, model-cum-actress Ziyi Zhang rocked an enviably informal Dior Haute Couture ensemble comprising simple black slacks, a strapless bustier top, and zebra-motif Louboutins.
You may not know Emmanuel Aubry’s name, but you’ve definitely seen his work. Throughout the eighties, the French jeweler was the hand behind Thierry Mugler’s outrageous accessories, like metal stilettos, gloves, and corsets. “Back then, fashion was a business, but it was just so much fun,” he recalls. “We were serious about what we did, but we never took ourselves too seriously. Things have changed since then.” His follow-up gig was a complete about-face, creating costume jewelry for Christian Lacroix. When the house shuttered, Aubry put himself on hiatus. His baubles, however, had other plans; the designer’s one-off accessories cropped up on the runway at Bouchra Jarrar and Alexandre Vauthier.
Earlier this year, Aubry resolved it was time for a comeback and launched A Fine Jewel, a streamlined collection of limited-edition jewelry. “My idea was to return to luxury in its original sense: something that’s finely made, discreet, and personal, something that you don’t see everywhere.” That might be a delicate gold chain with asymmetrical knots, a new twist on diamond studs, or the 38-carat cushion-cut smoked quartz necklace that’s already been snapped up by several style-setting Parisiennes (he also does private commissions, giving new life to heirlooms or creating one-offs). Aubrey usually works by appointment-only, but, just in time for the holidays, the designer is showcasing his wares in a pop-up shop in Paris’ 16th arrondissement. His price tags are less shocking then those in Place Vendôme (where he’s also done time), but luxury doesn’t come cheap. Rings run around $500, while more lavish pieces go up to $2,900.
Emmanuel Aubry’s pop-up is located at 9 Victor Hugo in the 16th arr., open Tuesday-Saturday afternoons through December 24.
It’s been nearly two decades since the fashion world has caught a glimpse of Claude Montana. But the reclusive designer showed up and lingered last night at Didier Ludot’s cocktail party in the Palais Royal, where the vintage guru is now displaying his private stash of Montana pieces. The idea to showcase Montana came naturally, Ludot noted. “He lives in the neighborhood so I see him every day, and it occurred to me that it would be an interesting switch from what I usually show—the Dior, Balenciaga, and Schiaparelli.” Montana’s recasting of sporty pieces in hyper-luxury materials was revolutionary at the time, he added, recalling a purple mink tracksuit from one show. Among Ludot’s treasures: a one-off absinthe and mustard-colored mink coat Montana designed for his late wife Wallis, a be-gloved and be-feathered black bodysuit, and a short, Lesage-embroidered couture dress from his controversial stint at Lanvin in the early nineties, a piece that Ludot scored only last Friday.
Montana, who recently published a retrospective of his career, recalled the agony of designing that couture dress: “The studio director didn’t understand what I wanted, so there was lots of back and forth,” he said. “There are so many memories in these windows, it’s touching.” Ludot concluded, “I think of Montana’s place in fashion as a bit like what Hervé Van der Straeten is to design now—extremely refined but also modern.” As to potential Montana heirs among fashion’s current crop, Ludot said, “I’m keeping an eye on Alexandre Vauthier and Maxime Simoens because they have the sensibility and they can do couture. And I saw something by Gareth Pugh the other day and I thought, ‘That could have been Montana.’ “