His debut collection is every bit as elegant and whimsical as one would expect, and includes such novelties (at least for Vivier) as running shoes. “That was my challenge-to evolve the maison, much like Roger Vivier did,” he says.
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He emerged with more than a few ideas of how to modernize the brand while retaining signature silhouettes and the use of rich colors. Not surprisingly, Felloni’s first order of business upon arriving at the house-aside from painting the showroom “couture pink” and adorning it with statement pieces from home, such as a life-size statue of Adonis-was diving deep into its expansive archives. “He was an architect, probably-or just a genius,” says Felloni, whose fascination led him to collect rare Vivier designs, including an original Belle Vivier style, the house’s signature block-heel shoes with a big buckle, made famous in 1967 when Catherine Deneuve wore them in Belle de Jour, directed by Luis Buñuel. Zhooshed up with couturelike embellishments, Vivier’s sophisticated designs immediately found favor with Elizabeth Taylor and the Duchess of Windsor, among many others. “Roger Vivier was always one of my biggest inspirations,” Felloni says of the man credited with introducing, in the 1950s, new shapes like stiletto heels and pointy lasts that forever changed the footwear industry. This past spring, he landed his dream job-he was named creative director at Roger Vivier, taking over from Bruno Frisoni, who stepped down after 16 years. One of his favorite designs there, a wildly popular furry slide covered in pearls, hangs on his bedroom wall. He went on to head up the footwear atelier at Dior, where he worked with both John Galliano and Raf Simons, before overseeing accessories at Miu Miu. “Because when I started making shoes, I never wanted to stop.” Rather, at the behest of his father, who owned a luxury shoe factory in Tuscany that produced footwear for Hermès and Gucci, Felloni, 38, channeled his immense creative talents into shoe design. Nor is he an architect, which was his first passion as a young man. Although he has an important collection of vintage parures and necklaces, which he wears on a regular basis, he is not a jeweler. He is not an opera singer either, despite the fact that he is a tenor and studied for six years at a music conservatory in Paris, and has performed at several “little concerts,” as he describes them. He has also decorated a few friends’ homes in his native Italy, though he is reluctant to be called an interior designer.
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“I love the idea of a house not full of old pieces,” he says of his own 19th-century home in Paris, which has appeared on the cover of several European design magazines. He can decorate a room like nobody’s business, boldly pairing midcentury French and Italian furniture with Chinese Art Deco carpets and contemporary works from the likes of the artist Nicolas Party and the furniture designer Duccio Maria Gambi. Gherardo Felloni could have successfully tackled any number of fabulous careers.
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