A refined return of the saddle shoe, highly prized by golfers in the 1920s, then emblem of the 50’s college boys and girls, in a boat version this time. The Arcachon Timothée oxfords will make a strong impression on the bay of the same name, a holiday resort painted by the immense Toulouse Lautrec and depicted by Claude Closky*.
Timothée slate Arcachon oxfords.
Because we do not always walk barefoot and few of us really fly, the question of what we put on – those objects that with courage, distinction, and if possible without fail, carry us more than we wear them, moccasins, oxfords, derbies, boots – is crucial. For a Japanese designer who spent six years at Berluti, working not only on shoes but also on knitwear alongside Alessandro Sartori and Haider Ackerman, creating a French shoe brand is no different than using specific French know-how, as it is practiced with excellence in Anjou, in Cholet, for the connoisseurs. It is not a question, for Timothée’s creators, of reinventing the shoe, but of incarnating it, as it is the case to say, in the best leathers and shapes, in current and personal beauty, the one that built itself by some miracle in Masamitsu Hata’s mind.
And Timothée, in all this? Timothée! Timothée? It is the pressing voice of a woman; mother, governess, lover, that Masa regularly hears from her Parisian apartment-workshop,” Pierre Rivière confides to me. Since then, Timothée has gained his independence, he walks the streets of Paris, day and night, in search of new adventures, always impeccably equipped with shoes, even when he goes boating, in Arcachon“>Arcachon. Timothy has a thousand faces and a thousand bodies, he sometimes borrows those of François Alu, first dancer at the Paris Opera ballet.
*Vacances à Arcachon, Claude Closky.