The majestic 18th-century interiors of the Parisian Hotel de la Rochefoucauld-Dudeauville – which houses the Italian embassy here – compelled Roger Vivier’s creative director Gherardo Felloni to come up with a theatrical setup that could match the location’s charm.
He reimagined the frescoed halls with wooden gazebos and striped tents to recreate the “Jardin à la Vivier” garden, as the brand’s spring 2025 presentation was titled as a nod to both Felloni’s and the founder’s fascination with flowers.
“This place speaks for itself,” said Felloni. “So our goal was to come up with an idea that could integrate well, that didn’t clash with it, but at the same time that could change its appearance in a respectful way. That’s kind of the same approach I have towards this brand, which is a wonderful case that has to be brought into contemporaneity.”
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Felloni’s attempt to do so was rooted in new materials and techniques he experimented with to offer fresh takes on the brand’s signature silhouettes.
One of the most impressive rooms was dubbed Salon Soleil and displayed styles in natural materials, ranging from raffia, woven wicker and canvas, embellished with the label’s distinctive glitzy touch via crystals, sequins and rhinestones. Cue to crochet raffia slides and flat sling-back slides as well as a series of straw hats, beach bags looking like folded hats and vests crafted from raffia, wooden beads and crystals.
“We worked on summery elements, like raffia, straw and wicker. They are all very precious but often they are not perceived as such, that’s why we also have artisans showing the handmade process that comes with them,” said Felloni referencing the stations installed in each room to give live demonstrations of the techniques behind the collection.
“Then we looked to make them even more precious with bejeweled embellishments… or complex techniques,” he said pointing to the embroidered vests as an example.
The peak of this approach was showcased in a gilded hall replete with golden palms trees, where laced-up roman sandals winked to the founder’s original mask sandals. Created in 1967, they were inspired by Vivier’s sculpture collection that featured animals such as lions and totems like smiling suns. Felloni recreated sun shapes with raffia, crystals and wooden beats and scattered tiny flowers over the geometric designs crafted from silver leather.
Elsewhere, he continued the botanical theme via cutout petals winking to broderie anglaise blooming on strappy sandals and the I Love Vivier cut-out pumps, or seen in laser-cut leather on Mary Jane flats. He offset the dainty vibe by displaying sportier styles as well, introducing the Viv’ Up padded slip-on sneakers in pastel colors and a new take on the Marlene shoe created in 1955 and here turned into a sporty sandal with a chunky rubber heel.
Also new, the iconic Belle Vivier shoes worn by Catherine Deneuve in 1967 “Belle de Jour” movie were rendered in pastel color combinations or revisited in ballet flat designs in supple nappa leather. To flank these designs, Felloni launched a new city bag inspired to 1930s travel luggage and embellished with the same rectangular buckle that marks the shoes.
“The bag category is going well and we’re increasingly establishing ourselves in it,” said Felloni. “This season, we introduced this city style because it was missing. When they first launched, the Belle Vivier shoes addressed young women, bourgeois ones that were emancipating themselves. This bag comes with the same spirit: it’s casual albeit its complex construction based on three wooden forms.”
Although the brand is best known for embellished bags and evening clutches, Felloni said that the goal is to expand the daytime offering. “We have plenty of daytime shoes, so it’s a natural [move],” he concluded.
