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Nicolás Vaudelet
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet for The Horse
Nicolás Vaudelet is a young Breton designer with a future of the most promising thing. Formed under protection of geniuses as Lacroix or Gaultier, his entry in the Spanish circuit with the signature The Horse has been sweeping. The key of his success? Perhaps it is necessary to look for it in the delight of his blue eyes or in his shy and entertaining smile. Or perhaps French and the Andalusian has bewildered us with his peculiar accent, a curious miscellany between. Of what is not doubt the fact is that the attractive individual of Nicolás Vaudelet takes root in his humility.
You have fitted in The Horse as the glove to the hand: they needed someone with his résumé and his savoir faire, and you turned out to be a lover of Andalusia. For what does Nicolás Vaudelet of The Horse wait?
I am part of a project that had begun before my arrival. I am a small part (an important part, it is me who would say). The Horse is a familiar small-scale enterprise of Seville in which we are beginning seeing the fruits of a renewal. In the first collections it was not possible to appreciate so much, but the fact is that it is not possible to change overnight. We have a clientele that follows us long ago and cannot afford: and less in epoch of crisis!, to collide with her. We try that the change is soft. We are in a process of introducing to The Horse in a world that it did not know: the world of the parades, the world of the press. We are constructing it again.

Paris left his work, for coming to work to Seville, for a mark that in that moment him was completely unknown. What moved to say to him that yes?
In a parade of high fashion of Gaultier Inés de la Fressagne paraded and it told to Jean Paul that it knew a company that was doing things similar to those that it had seen in some of his designs. Jean Paul knew well The Horse because it had been in Seville in Holy Week. And they thought about me for this signature. It was a mark more discreet than Gaultier, but it had his history, his baggage, although it was not a fashionable mark, but of basic, of equestrian.
On having gone on from a company much known as Jean Paul or since Dior to The Horse changes the mediatización to you. But the work is the same. For example, the work with the workshops is equal only that in The Horse, we have the workshops below! The change needed it, although the work is the same: inspiration, pursuit, prototypes, work with the providers... What it has changed to me is the life rhythm: to better! Now I wake up with the sun, the blue sky. Long time ago that wanted to live in Seville.

Is his dedication to the fashion vocational? When did it see that he wanted to devote himself to this?
In fact I am grafista, but I have always had an affinity with the fashion. Perhaps at first it understood it more than like clothes, like an artistic work. I came to the fashion in a moment in which it was very spectacular. Jean Paul Gaultier spoke of an epoch in which Thierry Mugler was to the maximum, Christian Lacroix to the maximum, to the maximum... There was a very artistic fashionable spirit. The shows, the parades, were to more spectacular everyone, the clothes were as of robots: amazing!
If it had come to the fashion in the epoch of the Belgians, perhaps they would not have had this affinity. Little by little I have learned more of clothes, of the construction...

Gaultier, Lacroix, Dior, Vuitton, Givenchy...: with what memories, with what lessons does it remain of his years of work in Paris?
Each one has given me a part of my work of now. My two teachers have been especially Lacroix and Gaultier. I always remember of Christian Lacroix that the taste transmitted me for Spain, for mixing colors, non-being afraid of doing risky miscellanies. And of Jean Paul Gaultier, who always looks for the inspiration for all places. Every detail of the life, every detail of the world is an inspiration source... and to have a history about which to think. This is much Jean Paul. He has a history for every collection and everything comes to feed this history.

You have always worked under protection of other signatures. After these have an already definite style: does not he think that that determines somehow his creative work? Would not he like going so far as to parade any day simply like Nicolás Vaudelet?
At the moment I am Nicolás Vaudelet parading for The Horse... I am not alone, am accompanied and that is well when one begins parading. I have been in the shade of big, now it is me who is, but accompanied. We will see what brings the future, but at the moment I am well. Also I take the recognition as my company, but also I have the personal recognition. The people have personalized the collections of The Horse with me. So at the moment I am well like that... (he smiles and with imploring and entertaining eyes he seems to say to me: do not continue round there).

His collections presented in Cibeles for The Horse generated big sense of expectancy. Was it afraid in the beginning of not pleasing, of not convincing to the circuit of the Spanish fashion?
Yes, but that: every day! I think very much about my teachers, about what they might think about me, in what it is they who would have done and also what the people are going to think, how one is going to take it... it is difficult to foresee. There is always someone to whom the collection is not going to like, it is the law of the taste. Jean Paul Gaultier was saying “each one with his bad taste” (laughs).
What I do is a little bourgeois and there are the more alternative people the one that does not like, designers prefer that they do madnesses, but I have to think about my clientele, with a touch pijo...: and I am not afraid of saying that it is a fashion prick! It is a part of the important clientele.

So you have that to design for the clientele of the whole life and simultaneously to attract a younger and innovative public.
Yes. We have to the clientele of the whole life, with a classic style, more of province and, simultaneously, it is necessary to seduce a younger public, with a more developed fashionable culture. But there can like a well made purse so much the everlasting public as newer other. What I do is a game: I add more juvenile details to a classic jacket, or steal to nongo from a petit I put a few zippers to him... and we give him this spark. It is a game.

It is the second consecutive year that gains the award L'Oréal to the best young designer of Madrid Fashion Week. It is seen that it has entered the sector of the Spanish fashion with the right foot: what opinion is deserved by the fashion that is done in Spain, his designers?
I believe that in Spain there is a lot of energy, desire of doing things, of moving in the world of the fashion, a little like fifteen years ago in Paris. The problem is that perhaps there is a confusion of words, of vocabulary: between seam, high fashion, chance, experimental clothes, sport... there is a confusion between all that. I do neither high fashion, nor seam, not experimentally. I do chance clothes. Why are no more spectacular things? Because I do chance clothes. Of the clothes that goes out in my parades, between 95 and 98 per cent are in the shops.

You are the creative director of all the lines of the signature: what are his principal projects in these moments?
Our principal projects are to unify the collections, to achieve that everything has the finished same. To create a world of The Horse.

His designs have a strong Spanish, Andalusian stamp. How have you done to penetrate and to be absorbed of our tradition and culture?
Good...: I live in Seville! To know the Spanish culture it is necessary to live through it and to know that it is necessary to continue a few codes. But before coming to live here, it already had my small Spanish culture.

Once I heard a fashionable journalist saying with many years of experience, that he was beginning in absence that the Spanish designers were not taking as an inspiration source all our culture, history and traditions. It turns out to be graceful that someone has had to come of out like Nicolás Vaudelet to remind it to us.
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