The body journey

Enter the world of Vautrait, where the passage of time intertwines with the artistry of traditional crafts to create garments that evolve with the wearer. Founded in 2021 by Yonathan Carmel, a LVMH Prize 2024 semi-finalist, Vautrait stands as a testament to the belief that the body gains depth and character with age, rejecting artificial transformations in favor of embracing authenticity and sustainability.

hube: What inspired your transition from graphic design to fashion? 

Yonathan Carmel: Transitioning from graphic design to fashion felt like a natural evolution for me. As a self-taught graphic designer, I honed my skills in encoding large amounts of information into visually concise forms. Working extensively with graphic applications like Illustrator, InDesign, and Photoshop provided me with a unique ability for visual abstraction, enabling me to effectively communicate ideas through imagery. 

The process of crafting page layouts instilled in me the discipline of making decisions while constantly considering the perspective of the reader or viewer. This skill set proved invaluable as I ventured into the world of fashion. Just as in graphic design, fashion requires a keen understanding of visual communication and the ability to convey ideas effectively. 

In essence, my background in graphic design served as the perfect preparation for my journey into fashion. It provided me with the necessary tools and mindset to navigate the complexities of this creative industry, allowing me to translate my vision into tangible designs that resonate with audiences. 

h: Vautrait emphasises timeless clothing that pushes construction and sewing to the paroxysm of detail. How do you balance this with the practicality needed for everyday wear? 

YC: In my approach to crafting garments at Vautrait, I place a strong emphasis on subtly accentuating the inherent beauty of materials and craftsmanship. Rather than overtly pursuing a specific design aesthetic, I focus on a design that subtly brings the material and craft to the forefront, allowing their inherent quality to shine through. 

I believe in showcasing the meticulous attention to detail and expert craftsmanship that goes into every piece, rather than relying on flashy embellishments or extravagant designs. By stripping away unnecessary distractions, I allow the quality of the garment itself to become the focal point. This approach honours and reconfigures the relationship between material and craft as fundamental aspects of the garment. This not only ensures a wearable garment but also underscores my belief that clothing should serve a functional purpose in everyday life, rather than being relegated to the confines of a museum.

h: In what ways does Vautrait challenge conventional ideas of style, particularly with its ‘ageless’ approach to design? 

YC: I try to challenge conventional ideas of style by rejecting the notion of trendiness and embracing an ‘ageless’ approach to design. In today’s fashion landscape, style is often dictated by fleeting trends, leading to a culture of disposable fashion. However, I believe in transcending these boundaries by creating designs that are not bound by temporary trends. I cater to a mature audience, not necessarily defined by age but by a mindset that values thoughtfulness and substance over fleeting trends. 

h: The use of neutral and muted shades in your collections is a distinctive feature. How do you believe this colour palette enhances the refined lines of the silhouette and contributes to the brand’s aesthetic? 

YC: In the realm of sartorial expression, I find myself resonating deeply with the notion that colors and prints serve as veils, potentially obscuring the intrinsic essence of a garment. It is as if the fabric, in its primordial state, has forgotten its own nature, becoming enveloped in a guise that distracts from its authentic being. Thus, my creative process is imbued with a sense of purposeful 

specificity, guided by an unwavering commitment to honouring the fundamental essence of the materials at hand. For in this union of form and function lies the true essence, in my opinion. 

h: Sustainability is a key focus in the fashion industry today. How does Vautrait incorporate traditional crafts as a means to create sustainable creations that accompany the body over time? 

YC: Fashion depends on sustainability. There is no sense in the mass production of something whose functionality is being disposable. Today, poor-quality products wear the face of desirability. Because the trend, by nature, leans towards temporary things, mass-produced objects will never be timeless, thus serving as something incommensurate with the sustenance of our environment. Therefore, as soon as the designer’s dialogue is only with the trend, the quality is immediately damaged, and sustainability is pushed to the margins. I believe in high-quality pieces, which prove a meaningful act of protest, against such an operation.

h: As a young designer, what challenges have you faced in establishing and growing your brand, and how have you overcome them, particularly in light of your recognition through the LVMH Prize? 

YC: The struggle to carve out a niche and gain recognition has been arduous, requiring a steadfast commitment to authenticity. The journey has been marked by financial constraints and logistical complexities. Limited resources have necessitated creative solutions, pushing me to find inventive ways to realise my vision within the constraints of budget and production. Recognition through platforms like the LVMH Prize has provided validation and visibility. I focused on authenticity and innovation, turning obstacles into opportunities for creative growth and strategic partnerships. Ultimately, resilience and a commitment to my vision have been essential in overcoming these challenges and moving my brand forward. 

h: What are your future aspirations for Vautrait, and how do you envision the brand evolving in the coming years? 

YC: Above all else, my goal is to educate the buyer on quality consciousness. I aim to impart an understanding of quality as the basis for luxury, resistance to mass production, and a means of preserving the people who understand and produce it with their own hands. The absence of this awareness will suppress, and eventually end, the very existence of tailors, sheep breeders and so forth, leaving in its wake cheap, hollow representations. As a designer, I strive to mediate between the hand of the tailor, who knows traditional, real craftsmanship, and the customer who understands both what she is purchasing, and the power imbued in it. Only in this way will the professions that are in danger of extinction be saved, and quality design be preserved. 

h: How does Vautrait’s design philosophy reflect the concept of ‘holding fast to the temporal after having given it up’, as mentioned in your brand’s description? 

YC: At its core, this statement reflects the tension between the finite and the infinite, the material and the spiritual, the temporal and the timeless. It suggests that even after striving to transcend the temporal realm we are still a part of it. The essence lies in becoming the guardians of knowledge that belongs to the timeless.