Shocked by a Runway Without a Single Shirt

On January 23rd, I headed to the Club Swan Dinner, scheduled to begin at 9 PM at the Musée des Arts Décoratifs. Before the dinner, there was the runway show for the Autumn/Winter 2015-2016 collection. The dress code for the Club Swan Dinner was "tuxedo." However, I wore a Berluti three-piece suit. Paired with a white shirt and a navy bow tie, I aimed to show I had made an effort, even if not strictly adhering to the tuxedo requirement.

I recalled a bitter experience at the Cannes Film Festival where I was denied entry for not wearing a tuxedo. Although I remembered that, the dinner was only for a select few among the attendees of the collection show. If everyone attending the show were in tuxedos, it would be different, but with most people dressed stylishly according to current trends, I felt awkward and reluctant to stand out in a tuxedo. At Cannes, I learned the strictness of "dress codes," realizing that even a great suit couldn't compare to a sloppy tuxedo. I also learned the importance of a bow tie and a white shirt. But tonight was a Berluti party, so I reasoned I wouldn't be turned away for wearing Berluti. With that assumption, I deliberately ignored the dress code.

The Berluti collection unfolded with a luxurious world centered around jersey. The biggest surprise was the absence of shirts. All tops were knitwear, and it was modern how knitwear was paired with jackets, suits, and coats as inner layers. Personally, I favored the coordination in Look 2. The silhouette created by the exquisite combination of coat, innerwear, trousers, boots, and gloves was superb. The subtle color coordination was also outstanding. I was also intrigued by the coat in Look 34. For footwear, the new signature shoe, "Alessio," was prominently featured. At the show's entrance, Alessio shoes were displayed, suspended by white balloons, creating a truly fantastical and serene atmosphere.

Berluti's Humorous Hospitality→

After the collection concluded, I proceeded to the specially set up Club Swan Dinner area behind the show venue. My worries about the dress code proved unfounded. Looking around, fewer people were actually wearing tuxedos. The dinner hosted 100 guests. Approximately 40% were journalists, and I suspect many, like me, felt a tuxedo might be too much for the collection venue. Or perhaps they deliberately chose to "dress down."

Upon entering the Club Swan Dinner venue, the first step was to remove and check our shoes. Then, in socks, we proceeded to our tables. Each table was set with a shoe care box, which surprised everyone. The tins, resembling shoe polish or cream, contained sauces, pastes, herbs, and spices. The concept was that these were for dipping bread or used in the dishes prepared by Chef Thierry Marx. This "situation play," rather than cosplay, was thoroughly enjoyable. As the meal course ended, waiters reverently brought silver trays to each guest. On the trays sat our shoes, impeccably polished after being checked in. Beside them were linen cloths and other shoe care items. Afterward, guests were invited to give their shoes a final polish using a cloth dampened with Champagne (Dom Pérignon, no less). It was a unique concept. This was an exceptionally humorous and unexpected form of hospitality. I was truly impressed by Madame Olga's unique sensibility.

Finally, I must commend the impeccable dark suit worn by Bryan Ferry, a super guest I spotted at the venue. His effortless, purely simple elegance was breathtaking. Truly remarkable.

What I Saw at the Atelier Celebrating its 120th Anniversary→

I first learned of the Berluti brand when its boutique opened in Aoyama, nearly 20 years ago. Madame Olga herself attended the opening party. I recall a brief greeting. At that time, Berluti specialized in shoes; they didn't offer clothing or bags as they do now. Or perhaps they had a few bags? I purchased a pair shortly after the opening and had them patinated by a craftsman on the spot. I assume Openers readers are familiar with the term: "patina" is a dyeing technique developed by Berluti. A craftsman, known as a colorist, uses multiple dyeing solutions to create a unique, one-of-a-kind color.


At the atelier I visited in Paris, I was able to observe not only the patina technique but also the entire process of how Berluti shoes are made, from creating the lasts to stitching the uppers, in front of the specialized artisans. Creating the lasts involves the bold use of knives. The way they masterfully manipulated the long blades to carve delicate lasts was true craftsmanship. I was captivated watching them. Getting carried away, I even tried using a knife myself, but I couldn't hit the intended spot and ended up shaving off an unintended area. As expected, it's not something an amateur can casually attempt.



There's something captivating about the lifestyle of a "craftsman." Beyond the sheer skill of their dexterous work, their singular focus is truly admirable. Behind the glamorous fashion industry lies the daily dedication of these individuals, who rarely receive the spotlight. Their pursuit of perfecting their craft, honing their skills, sometimes seemed to radiate a halo.

The Only Maison Offering Fully Bespoke Shoes and Apparel

Today, Berluti is not only a shoemaker crafting works of art but also a fashion brand offering complete collections under Artistic Director Alessandro Sartori. Furthermore, Berluti is currently the only maison that offers full bespoke services for both shoes and apparel. Sartori has breathed new life into Berluti, yet the heritage built by Madame Olga as a traditional shoemaker is always subtly present. I believe this provides the brand with its stability. He upholds the heritage inherited from Madame Olga while not hesitating to embrace new challenges. In this, I see the new potential of a long-established brand. The new signature shoe, "Alessio," is a prime example, featuring the ultra-lightweight midsole and outsole of a sports shoe integrated with the upper of Berluti's iconic "Alessandro" shoe. It perfectly embodies the brand's philosophy.

It's fascinating that Berluti, a Parisian artisan brand, is undergoing a rebranding through a collaboration with Alessandro Sartori, an Italian designer full of craftsmanship. The continued success of this rebranding is, I believe, a testament to Alessandro's solid work. I am now 50 years old, reaching an age that feels fitting for Berluti. I intend to continue following the evolution of the new Berluti with great interest.

Berluti Information Desk
0120-203-718
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