LA VIE PARISIENNE” Autumn 2025

What is it to be Parisian? Not a look, but a language. Not a role, but a rhythm. For the Autumn 2025 pre-collection, Roger Vivier explores that very essence with La Vie Parisienne, a campaign imagined by Gherardo Felloni as both homage and provocation.

Shot within a hôtel particulier and along hushed Parisian streets, the story unfolds like a whispered secret—captured in a glance, stretched across a brocade sofa. It reveals something more elusive than beauty: character. Here, elegance isn’t constructed. It’s instinctual.

This is not the Paris of clichés. Nor is the Vivier woman one. She is elegant but unpredictable, refined yet untamed—never explaining, always becoming. Like the muses who once wore Vivier—Deneuve, Bardot, and beyond—she moves between worlds. Perhaps an art dealer. Perhaps a writer. Or neither. She doesn’t follow fashion. She defines style.

Felloni casts three women who embody this spirit:
Louise de Blegiers, whose modern intensity hides beneath quiet poise;
Zoé Adjani and Léa Rostain, actresses whose presence blends softness with edge.
Parisian by birth or by affinity, these are not women who perform femininity—they reinvent it.

The collection reflects this spirit of nonconformity. Iconic silhouettes are reimagined with unexpected twists: the Belle Vivier pump in wine-dark burgundy; a cream slingback with a shock of green at the b     uckle; woven leather shoes and bags evoking the texture of café rattan. Each piece is sculptural—not just an accessory.

New forms signal freedom: a low-soled sneaker, featherlight and quietly subversive; a ballerina-sneaker hybrid revisiting early-2000s codes with Vivier’s distinctive irony. From the archive, a cleated sole anchors classic moccasins in supple leather and suede—made for cities, salons, and slow-burning conversations.

As day turns to night, the tone deepens: Efflorescence stilettos in satin, brooch-like buckles on Jewel bags, silver-and-green Mary Janes that gleam with quiet defiance. Crystal-pinned barrettes, embroidered gilets and belts shimmer—less as decoration, more as punctuation.

The Vivier woman curates, collects, contradicts. She begins with the shoe—and builds her silhouette around it. One day, a carved heel and wool skirt; the next, a masculine suit tempered only by intention. She is intellectual without pretense. Elegant, but insubordinate. Her Paris isn’t fixed. It moves—just like her. And in that motion lies the essence of Roger Vivier.

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