A dressed loafer playing the cruise register, nocturnal and bright, when all the entrechats run in dark grey on the mahogany deck.
1er jour léger loafers, light like the champagne wave that came to foam so finely on the banks of your crystal glass.
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.