It was only a matter of time before Alexandre Vauthier arrived at camouflage, what with his vision of strong, empowered women. The fact that his fatigues were festooned with large Swarovski crystals—the antithesis of inconspicuous—was beside the point. He had enlisted an elite group of models (Bella, Jourdan, Lindsey, Soo Joo, Hana, Jamie) and dressed them as couture commandos: squad goals, redefined.
Vauthier extended the message with a flight suit in python and a military sweater in high-ply cashmere with alligator panels. He also reimagined a saharienne parka as a wrap dress, while using army green as the basis for dramatic waist bows and a deconstructed gown. Mercifully, he never allowed the forceful theme to overtake his sleek suiting and seductress eveningwear. Of special interest were hybrid looks, such as the down coat in black silk velvet paired with reversible sequin leggings, and the flawlessly fitted suit that would go into constant wardrobe rotation like a uniform. The designer is hawkeyed about technique; he had plumes positioned upward defying gravity, and used acid green micro crystals hand-glued to woven mesh instead of metal to boost the fluidity of fabric—not that fabric was the right word for something so barely there. But such lightness was juxtaposed with pants and a jacket in python-ish silvery embroideries from Maison Lesage and riveted belts, wrapped almost seamlessly, coiled into minidresses. This collection, arguably more than any from Vauthier’s past, favored svelte bodies and no-nonsense dispositions, even though the relaxed, bejeweled camo cargo pants and white shirt was easily the coolest look. The scandalous red dress worn by Bella at Cannes reappeared here, now in double-sided sequins that can be manipulated into camo-like patterning. The question is not if it will strike, but how soon.
