Roger Vivier

Roger Vivier
Born
Roger Vivier

(1907-11-13)13 November 1907
Died2 October 1998(1998-10-02) (aged 90)
Employer(s)Christian Dior SE, Yves Saint Laurent, Delman
Known forDesigning for Queen Elizabeth II for her Coronation

Roger Henri Vivier (13 November 1907 – 2 October 1998)[1] was a French fashion designer who specialized in shoes. He is best known for creating the modern day stiletto heel and for placing a chrome-plated buckle on an elegant black pump, which became a must-have fashion statement for many celebrities and stars in the 50s and 60s.[2][3][4] His namesake label is Roger Vivier (brand).

Early life and education

Orphaned at the age of nine, Vivier studied sculpture at the École des Beaux-Arts in Paris and his compositions exhibited the concern for form and texture characteristic of a sculptor.[5]

Career

Vivier has been called the "Fragonard of the shoe" and his shoes "the Fabergé of Footwear"[6] by numbers of critics. He designed extravagant, richly decorated shoes that he described as sculptures.

Vivier sketched his first shoe design in 1917 when he was just ten years old, impressing a family friend who owned a shoe factory.[7] Years later at the École des Beaux-Arts while studying sculpture, an apprenticeship manufacturing shoes introduced him to professional shoe design and production and soon after graduating he was designing shoes for a number of European and US companies, including Bally and Delman.[8]

After opening his own house in Paris in 1937, he continued to produce designs for Delman, maintaining a relationship that would last through 1962.[9] Many of his designs of the 1930s and '40s were very sculptural and creative interpretations of the era's platform soles, which often included the wedge heels that had been introduced by Ferragamo in 1937.[10][11] The first couturier to use Vivier footwear was Schiaparelli in 1937, who accepted a pair of Chinese-influenced Vivier platforms that Delman had rejected.[12] During the Second World War, while exiled in New York, he made hats.[13] At the end of the 1940s, he was designing a range of pumps, sandals, and ankle boots in creative combinations of materials and trim as Paris designer for Delman.[14]

At the beginning of the 1950s, Vivier was still designing for Delman, generally following the trend toward tapered pumps. Perugia was the most prominent shoe designer with couturiers at the time, but after Christian Dior switched from Perugia to Delman in 1952-53, Vivier's stature grew and by the end of the decade he was considered the most  innovative and influential shoe designer in fashion. Notable designs of his from the first half of the decade included pumps incorporating transparent plastic in 1951,[15][16] presaging his more extensive use of transparent plastic in the mid-1960s; shoes with stiletto heels with the top of the heel inset from the back of the foot bed in 1953;[17] and high heels tipped with detachable, interchangeable spheres to coordinate with different outfits in 1955.[18]

Vivier designed shoes under contract with the house of Christian Dior from 1953 to 1963. The two designers worked very closely together, with Dior sometimes conceiving of ensembles based on Vivier's footwear.[19] Delman had been the springboard for this collaboration and Vivier shoes from this period usually contain the label Delman-Dior or Dior-Delman.[20][21]

In 1954, he created what we now think of as the modern stiletto heel.[22] Stiletto heels, the very thin high heel, were invented in the late 19th century, as numerous fetish drawings attest, but Vivier is known for reviving and developing this opulent style by using a thin rod of steel, carrying further similar uses of metal for heels undertaken by other designers during the early fifties,[23] including Perugia, who produced sliver-thin metal heels as early as 1951.[24] The same internal girding supported Vivier's Aiguille (needle) heels and Choc (shock) heels of 1955.[25] In addition to the stiletto heel, he also experimented with other shapes, including the Comma (inventing the “virgule” heel) in 1959.[26] He used silk, pearls, beads, lace, appliqué and jewels to create unique decorations for his shoes.

In the second half of the fifties, Vivier was known to the public for favoring low heels and squaring the tips of the long, tapered toes that were the norm at the time,[27] initiating trends that would become more pronounced and characteristic of the shoes of the early to mid-1960s.[28] He introduced the lowered heel in 1956,[29] initially to harmonize with the longer skirts in Dior's fall 1956 Aimant collection.[30] He continued with the lowered heel the following year, when Dior raised his skirts to the knee.[31] Low heels would remain Vivier's major focus through the mid-1960s. His expertly sculpted, delicate-looking low heels of the late fifties were intended to give a slight impression of height even when very low.[32][33]

He introduced the squared-off toe tip in 1957,[34] referring to the shoe last for it as Mandolin in 1958, when he also produced a cleft-toed variant he named Guitar.[35] Fashion writers sometimes referred to these late fifties/early sixties squared-off toe tips as chisel toes. Though introduced in 1957, they wouldn't become mainstream popular until 1961.[36] He also produced other unusual sculpted toe tips.[37] In 1959, he produced a toe tip with the top of the end concave for a scooped-out effect, as well as a pump where the outer side of the toe box was geometrically shaped into a flat plane.[38]

In the early 1960s, he continued with squared-off toes and low heels[39] but moved toward wider, rounded toes[40] and thicker but still low heels by 1963,[41][42] influencing the era's footwear trends.[43] His style remained very sculptural.[44] In 1960 and '61, he presented some wider, wedge-shaped toes for both day and eveningwear,[45][46] while continuing to produce more familiar pointed toes and stiletto heels. He introduced the Twist heel in 1962 and the Hurricane heel in 1963, the former a heel that looked wide from the back but narrow from the side,[47] the latter a variation of his late-fifties Comma or Parenthesis heel.[48] Vivier and Delman ended their partnership in 1962, capping off over a quarter-century of collaboration that had begun when Vivier was just out of university.

Vivier was best known in the 1960s for his work with Yves Saint Laurent, which he seemed to find uniquely inspiring,[49] but he also designed for a number of other houses, sometimes eight or nine in a season.[50] These included Pierre Balmain, Guy Laroche,[51] Nina Ricci, Grès,[52] Venet,[53] Ungaro, Simonetta e Fabiani, Jean-Marie Armand, and Jacques Tiffeau.[54] Though he had ended his contract with Dior in 1963, Vivier made shoes for Marc Bohan of Dior off and on throughout the decade.[55]

A low-heeled, round-toed, black patent leather pump with a square metal buckle was a best seller for him in 1964[56] and it would be modified slightly for Yves Saint Laurent's 1965 Mondrian collection, an iconic association that would further popularize it. He would make variations of this style for a couple of years thereafter.[57] In 1966, the year that Space Age influence peaked in fashion, he would focus on low-heeled, round-toed shoes and boots in transparent plastic and metallic silver.[58][59]

Women's boots came to the fore in the 1960s and Vivier's were some of the best, ranging in height from ankle to waist, and even higher.[60][61] He had resumed creating a few ankle boots in 1959,[62] part of a trend of the time, and expanded his boot range in the early 1960s.[63][64] For fall of 1962, many designers showed a range of boots up to knee height,[65][66] and the following year some boots stretched to the thigh.[67] The most famous of these were the low-heeled, thigh-high boots Vivier produced for Yves Saint Laurent's fall 1963 collection in materials from leathers to satin,[68] particularly a much-photographed pair in black crocodile worn with a Space Age-looking outfit.[69][70] The thigh-high boots in this collection had been inspired by a pair Vivier had made for a Rudolf Nureyev performance of Swan Lake.[71] He would continue to produce thigh-high and higher boots into the early 1970s, including versions in stretch satin[72] and transparent plastic,[73] all with the low to flat heels of the period. Vivier also contributed astute versions of the low-heeled calf-high boots especially popular from 1963 to '65.[74] In 1964, he made waist-high boot pants for Simonetta e Fabiani in both day and evening fabrics,[75] and in 1968 he merged a footpiece with a stretch jumpsuit for Jean-Marie Armand, creating an all-in-one boot-jumpsuit.[76] For the Courrèges-style Space Age designs of Emanuel Ungaro, Vivier produced squared-off calf-high boots of silver leather,[77] white knee boots with a chromed metal band closing the top,[78] and thigh boots in white stretch vinyl[79] and clear plastic.

After showing an occasional thickened sole earlier in the decade,[80] in 1967 he debuted complete lines of platform shoes, updated for the 1960s,[81][82] including in two collections for Saint Laurent,[83] launching an industry trend that would expand and become characteristic of the early 1970s.

He also resumed showing more high heels in 1967, with some as high as two-and-a-half inches but still chunky-looking. His newest heels flared from top to bottom, simultaneously looking thick and giving an impression of greater height.[84] Nineteen sixty-seven was also the year of his Africa-themed shoes for Saint Laurent, with versions of the period's flat, strapped-up-the-leg sandals featuring African-looking masks over the shins.[85]

In 1969, Vivier added a line of men's shoes.[86][87]

As the broader fashion world moved away from haute couture and toward ready-to-wear in the late sixties and early seventies,[88][89] Vivier too went this route, ceasing to provide made-to-order couture services in 1970 and concentrating only on his ready-made lines.[90]

He continued with thick heels, platforms, and boots[91] in the early seventies, coordinating his proportions with the new midiskirts[92] and hot pants.[93]

Later in the seventies, Vivier retreated to his home in Périgord, eventually withdrawing almost entirely and working on sculpture while continuing to sketch shoe ideas.[94][95]

A series of Vivier retrospectives in 1980 signaled renewed interest in his work.[96] The 1980s saw various revivals in the fashion world – forties revivals,[97] fifties revivals,[98] sixties revivals[99] – including 1950s-style pumps becoming common again,[100][101] and Vivier was inspired to both create new work[102][103][104] and update signature older hallmarks like comma heels,[105][106] ball-tipped heels,[107] thigh-high boots,[108] and shin-mask sandals.[109][110] Major museums displayed landmark Vivier designs from their permanent collections,[111][112] exhibitions were held in various cities,[113][114] and a new Vivier boutique opened in New York, his offerings once again available in both ready-to-wear and made-to-order form.[115][116]

Grace Kelly,[117] Ava Gardner, Gloria Guinness, Wallis Simpson,[118] Régine Zylberberg,[119] John Lennon,[120] and The Beatles were all Vivier customers, and he designed shoes for Queen Elizabeth II for her Coronation in 1953.[121]

Vivier occasionally designed for the stage, providing footwear for the dancers Rudolf Nureyev[122] and Zizi Jeanmaire.[123]

See also

References

  1. ^ Enid Nemy (8 October 1998). "Roger Vivier Is Dead at 90; Raised Heels to New Heights". The New York Times. p. B 11. Retrieved 18 November 2020.
  2. ^ "The Ultimate French Girl Shoe Turns 55". British Vogue. 5 May 2020. Retrieved 14 March 2024.
  3. ^ Ago, Lndesta120282in #fashion • 6 Years (31 January 2018). "Roger Vivier - Stiletto heels". Steemit. Retrieved 14 March 2024.{{cite web}}: CS1 maint: numeric names: authors list (link)
  4. ^ Amazon.com: Roger Vivier (Memoire): Books: Colombe Pringle
  5. ^ Museum, FIDM (14 July 2015). "Vivier's "Virgule"". FIDM Museum. Retrieved 14 March 2024.
  6. ^ Hilary Rose (27 September 2007). "Ahead of the curve". The Times. UK. Archived from the original on 11 May 2008. Retrieved 23 October 2009.
  7. ^ Hawkins, Dorothy (27 September 1955). "Shoe Stylist Step Ahead in His Field". The New York Times: 39. ...Roger Vivier...designer for Delman-Dior shoes...explains that he designed his first pair of shoes when he was 10 years old....[T]he open, two-strap shoe he created caused quite a sensation in the shoe factory of a friend of his father's...
  8. ^ Trasko, Mary (1989). "Chapter Two: Enter the Clodhopper". Heavenly Soles. New York, USA: Abbeville Press. p. 46. ISBN 1-55859-324-1. ...[A]n apprenticeship at a shoe factory...gave his sculptural interests a new direction....[H]e designed shoe samples for a German leather company that supplied many of the large European shoe companies....[I]n no time Vivier was designing models for Pinet and Bally..., Salamander and Mercedes..., Rayne and Turner..., and Delman...
  9. ^ Trasko, Mary (1989). "Chapter Two: Enter the Clodhopper". Heavenly Soles. New York, USA: Abbeville Press. p. 46. ISBN 1-55859-324-1. In 1937 Vivier opened his own design house...and was soon designing exclusively for Delman, one of the most respected American manufacturers of fine-quality shoes...
  10. ^ Trasko, Mary (1989). "Chapter Two: Enter the Clodhopper". Heavenly Soles. New York, USA: Abbeville Press. p. 48. ISBN 1-55859-324-1. Facing a shortage of the quality steel he had used to reinforce his shoe arches, in 1937 Ferragamo devised a sole and heel from a wedge of cork...
  11. ^ Chase, Edna Woolman, ed. (1 January 1938). "Uplift of the Sole". Vogue. New York, NY, USA. pp. 58–59. Ferragamo...is responsible for this radically new idea – the uplift of the sole [into a wedge heel].
  12. ^ Trasko, Mary (1989). "Chapter Two: Enter the Clodhopper". Heavenly Soles. New York, USA: Abbeville Press. pp. 49–50. ISBN 1-55859-324-1. ...[W]hen Vivier produced a platform á la chinoise...in 1937, Herman Delman wired back, 'Are you crazy?'...Vivier presented the model to Schiaparelli, who showed it with her collection – the first of many Parisian couturiers who chose Vivier's shoes...
  13. ^ Pope, Virginia (8 January 1943). "Special Showings Open New Hat Shop: Suzanne Remy and Roger Vivier are Partners in 64th Street Milinery Enterprise". The New York Times: 22.
  14. ^ "Sandals Feature Braided Leather or Crocheted Straw". The New York Times: 31. 17 March 1949. Shoes with a shorter look, more rounded toes and toes turned up...are only a few of the trends for...next fall, according to Roger Vivier, French designer for Delman....He favored closed shoes for day and airy versions for cocktail and evening wear....For day black suedes were fashioned into little boots outlined with open-work or detailed with back lacings.
  15. ^ "Transparent Shoes Vie with Vivid Color". The New York Times: F37. 19 March 1951. Transparent shoes vied with those of brilliant shades in the latest Delman shoe designs...Roger Vivier [is] Parisian designer for Delman...Delman designs in clear plastic...arouse curiosity...Inserts of lace or chenille-like dots...melded with the plastic. Pumps with the plastic vamp and a mudguard of suede or calf around the toe gave the appearance of a very low shell. Insets of plastic in square or leaf motifs were outlined with suede or calf.
  16. ^ McColl, Patricia (27 December 1987). "Fashion: In Vivier's Shoes". The New York Times: 36. Some...Dior shoes earned Vivier the title of 'master of transparency,' because he introduced the use of see-through plastic that allowed the foot to appear to be floating on a jeweled sole and heel.
  17. ^ Daves, Jessica, ed. (1 July 1953). "More Shine Than Shoe". Vogue. 122 (1). New York, NY, USA: The Condé Nast Publications: 72–73. ...[S]andal...of metallic kidskin....[T]he heel...announces an entirely new principle – the heel moved forward, where it carries the body's weight...better. Designed in Paris's Delman studio, by Roger Vivier.
  18. ^ "Oriental Influence Features New Slippers for Dancing". The New York Times: 10. 2 September 1955. ...Dior shoes [had] sparkling jeweled balls on the tips of slender evening heels. These ornaments are detachable, so that various colors can be substituted to complement the color of a dress or match the jewels worn with an evening ensemble.
  19. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. p. 79. ISBN 1-55859-324-1. ...[T]he two designers worked together closely, and Vivier became the only person to enjoy the privilege of being Dior's cosignatory. Dresses inspired shoes and sometimes vice versa, with Vivier suggesting lines and materials to Dior that would work well with his shoes.
  20. ^ Daves, Jessica, ed. (15 March 1956). "Paris Tailoring: Dior's Softer Effects". Vogue. 127 (5). New York, NY, USA: The Condé Nast Publications: 88. Dior cut of shoe:...Delman-Dior shoes, designed by Roger Vivier.
  21. ^ Daves, Jessica, ed. (1 September 1956). "Paris Look". Vogue. 128 (3). New York, NY, USA: The Condé Nast Publications: 210. ...Roger Vivier shoes for Dior-Delman.
  22. ^ Meredith Paslawsky (November 2008). "Italian Fashion: The History of High Heels". Life in Italy. Archived from the original on 24 September 2009. Retrieved 23 October 2009.
  23. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. pp. 69–70. ISBN 1-55859-324-1. Although it is difficult to prove who made [the stiletto heel] first, Vivier...presented the most inventive array of elegantly tapered models with the most distinctive silhouettes.
  24. ^ Daves, Jessica, ed. (15 September 1951). "The New Fashion – and the Old Allure". Vogue. 118 (5). New York, NY, USA: The Condé Nast Publications: 89. The new suspension sandal. Standing on a thin strip of metal...Perugia...
  25. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. pp. 69–70. ISBN 1-55859-324-1. In 1955 Vivier, working in association with Dior, introduced...talon choc and talon aiguille (the 'shock' and 'needle' heels). The needle heel was finely tapered and reinforced with steel...The shock heel had an equally narrow arc of curved steel...
  26. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. p. 79. ISBN 1-55859-324-1. ...the comma heel of 1959, a tour de force of curved steel developed with the assistance of aeronautics engineers...
  27. ^ "Vivier's Contract with Dior to End". The New York Times: F51. 16 November 1962. Among the many innovations for which [Vivier] is responsible are the square toe and the lowered heel.
  28. ^ "Knee Sock Becomes a Stocking and Comes to the City". The New York Times: R10. 19 September 1963. Roger Vivier, the French shoe designer who made the lower-heeled shoe fashionable...
  29. ^ Bender, Marylin (23 October 1961). "Women Lose Lofty Stature". The New York Times: 32. ...[T]he first low-heeled shoe...was introduced by Roger Vivier in Paris five years ago [1956]....
  30. ^ Beeson, Edith (28 September 1956). "A 'More Shoe' Silhouette Complements Long Skirts". The New York Times: F21. Roger Vivier, designer for Delman-Dior, believes the longer Dior skirt length on the horizon demands a lower heel as well as a more covered-up shoe.
  31. ^ "Dior Executive Outlines Shoes". The New York Times: 36. 10 September 1957. ...Roger Vivier, designer of Christian Dior Shoes...maintains that the shortened skirt is better balanced by a little heel...
  32. ^ "Dior Executive Outlines Shoes". The New York Times: 36. 10 September 1957. ...a little heel...molded to achieve a look of height.
  33. ^ Bender, Marylin (2 December 1963). "Vivier's Shoes Now Appearing in U.S. Stores". The New York Times: F64. ...[S]lender...heels...give the illusion of greater height than they actually possess.
  34. ^ "Dior Executive Outlines Shoes". The New York Times: 36. 10 September 1957. ...Roger Vivier, designer of Christian Dior Shoes...Incoming is the softened, narrow square toe.
  35. ^ "New Shoe Lasts by Dior Shown". The New York Times: 25. 17 October 1958. ...Roger Vivier, designer of Christian Dior shoes, has created two new lasts, the Mandolin and the Guitar....The Mandolin vamp is tapered and slim. It is cut low, ending in a toe that is an extended square point....The Guitar last...has a toe tapered to a cleft, or indented, point.
  36. ^ Vreeland, Diana, ed. (1 March 1963). "Special from Paris – Couturier Shoes". Vogue. 141 (5). New York, NY, USA: The Condé Nast Publications: 146–147. ...[M]aster craftsman...Roger Vivier is avant...[In] 1958: when other toes were all rapiered, his, for Dior, were...flattishly square – three years later, they were everywhere.
  37. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. p. 82. ISBN 1-55859-324-1. ...Vivier also created marvelous toes: squared off, pointed, turned up...
  38. ^ Daves, Jessica, ed. (1 August 1959). "Collector's Shoes – Europe to America". Vogue. 134 (2). New York, NY, USA: The Condé Nast Publications: 124–125. The red silk satin opera pump has a...toe...planed diagonally on the right side, to look as though this portion of the shoe were neatly sliced off....The grey calfskin shoe has...a soft toe with unexpected flatness across the top that gives a scooped-out effect; a black heel that's back-swept, narrow....Both shoes, by Roger Vivier, for Dior.
  39. ^ "A Foot Note: Sharp to Square". The New York Times: 17. 1 September 1960. According to Roger Vivier, designer of shoes at Christian Dior in Paris, the square toe is the incoming shoe silhouette....Vivier shoes with blunt, [wider,] flattened toes were shown in the recent Dior collection in Paris...
  40. ^ Smith, Edith Beeson (21 September 1961). "French Shoe Designer Unveils Oval-Toe Look". The New York Times: 38. Roger Vivier...has his sights set on...an elongated oval toe with a flattened effect on top. Although square toes dominate for afternoon and evening, the oval toe is the daytime favorite...Mr. Vivier accentuated the bluntness of square toes by turning them up so that the sole folds back over the toe.
  41. ^ Bender, Marylin (2 December 1963). "Vivier's Shoes Now Appearing in U.S. Stores". The New York Times: F64. Mr. Vivier...began...the low, thick heel, said that he continued to believe in [it], even for evening wear.
  42. ^ Bender, Marylin (12 June 1963). "Vivier Finds Low Heel Fits Modern Life Best". The New York Times: 47. 'Le high, fine heel is finished. Le pointed toe is finished, le very square toe is finished,' added Roger Vivier, the Parisian who is acknowledged to be the leading shoe designer of recent times....The low heel is more in keeping with modern life, explained Mr. Vivier...In the collection that he brought with him are lower, heavier heels for every occasion....Vamps are higher, toes are round, oval or rounded square, but never pointed.
  43. ^ Bender, Marylin (23 October 1961). "Women Lose Lofty Stature". The New York Times: 32. Low-heeled shoes in high fashion, designer says....The days of the shoe with the pointed toe and soaring, sliver-thin heel are numbered. The news in high fashion footwear is the unabashedly comfortable shoe with the low, wide heel.
  44. ^ Smith, Edith Beeson (21 September 1961). "French Shoe Designer Unveils Oval-Toe Look". The New York Times: 38. Another innovation is a bottle-necked, square-toed style with a 'pinched and curved' vamp that gives a dimensional effect.
  45. ^ Daves, Jessica, ed. (15 September 1960). "Vogue's Eye View of a Paris Surprise". Vogue. 136 (5). New York, NY, USA: The Condé Nast Publications: 141. ...[A]brupt, planed-down, spatula toes, with wagging satin tongues or strict little grosgrain bows...by Roger Vivier for Dior...pale satin for evening, and a small-heeled suit shoe in brown alligator.
  46. ^ Daves, Jessica, ed. (15 March 1961). "Paris News In Detail". Vogue. 137 (6). New York, NY, USA: The Condé Nast Publications: 104. Dior's new shoe-shape that tapers to a flat square toe....one in alligator with high heel; one in two-toned leather with low spool heel....by Roger Vivier.
  47. ^ "New Heel Fashion". The New York Times: F38. 24 May 1962. Roger Vivier...is basing his fall collection on a new Twist heel....Viewed from the rear, it is wide; from the side it is sliver thin.
  48. ^ Bender, Marylin (2 December 1963). "Vivier's Shoes Now Appearing in U.S. Stores". The New York Times: F64. The startling 'hurricane' heel introduced during the Paris showings last summer [1963] and shaped like a parenthesis is represented in a satin evening pump.
  49. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. 'I love Yves,' said Vivier, who implied that Saint Laurent moved him to greater heights than the other French designers.
  50. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. Vivier...did the shoes for nine couture collections to be seen here during the next 10 days.
  51. ^ Emerson, Gloria (31 July 1965). "Paris: 4 Old Favorites and a Promising Newcomer". The New York Times: 12. Guy Laroche...showed...booties by Roger Vivier....
  52. ^ Vreeland, Diana, ed. (1 July 1966). "Paris: The News as We See It". Vogue. 148 (4). New York, NY, USA: The Condé Nast Publications: 288–289. Grès – ...thigh-length tunic dress of greige wool...thigh-high boots of supplest greeny-beige suède....by Roger Vivier.
  53. ^ Vreeland, Diana, ed. (1 July 1966). "Paris: The News as We See It". Vogue. 148 (4). New York, NY, USA: The Condé Nast Publications: 282–283. Venet's coats, wrapped to the back...Shoes by Roger Vivier.
  54. ^ Morris, Bernadine (21 November 1964). "Short Skirt Puts Focus on the Leg". The New York Times: 18. Jacques Tiffeau...used Roger Vivier shoes...
  55. ^ Taylor, Angela (19 August 1964). "Fall Shoe Styles Show a Trend Toward a More Feminine Look". The New York Times: 32. Roger Vivier...shoes walked with a number of French couture collections this summer (among them those of Dior, Balmain. Ricci and St. Laurent)...
  56. ^ Bender, Marylin (19 October 1965). "A Vote for American Legs". The New York Times: 47. 'Le black in patent leather is very important, very clean, very neat,' he said, observing that his best-selling shoe in Paris last winter was a black patent leather with a large Pilgrim buckle....'Le toe is large, between square and round but no point,' he said.
  57. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. Vivier's new version of his Pilgrim buckle shoe turned up at Pierre Balmain's collection this morning. It had a slightly curved, oversize buckle covered in patent, like the shoe, with a narrow metal outline.
  58. ^ Emerson, Gloria (27 January 1966). "Paris: Strictly for Small-Boned Girls". The New York Times. p. 37. Retrieved 13 July 2023. Roger Vivier, who provides most of the new shoes for the haute couture, has made everything in clear plastic this year...
  59. ^ Vreeland, Diana, ed. (15 October 1966). "The Great Shoes of Roger Vivier". Vogue. 148 (7). New York, NY, USA: The Condé Nast Publications: 54. Chrome Saturn rings standing on the vamp of a...sling-back...in silver calf and clear plastic, with Vivier's new low heel – 3/4-inch high, squared across the back....for Ungaro....Silver calf pump with...U-ed toe, squared 3/4-inch heel, and triangled seams holding the back completely flat....for Ungaro.
  60. ^ Emerson, Gloria (4 August 1966). "Paris Adds Finishing Touches to Fall Lines". The New York Times: R52. Boots and more boots marched quietly across the pale gray carpets of the haute couture salons here...[d]uring the fall collections...[M]ost of...the newer boots...were designed by Roger Vivier.
  61. ^ Vreeland, Diana, ed. (15 October 1966). "The Great Boots of Roger Vivier – Tall and Short". Vogue. 148 (7). New York, NY, USA: The Condé Nast Publications: 60. Vivier's...[knee-high] vinyl boot in a gold-and-black [houndstooth] pattern, with his new U-...ed squared toe and a...heel...2 1/4-inches high...for Saint Laurent. Short [lower-calf] boot, squared...by two vertical seams in back, two vertical seams in front....U-ed toe...squared 3/4 inch leather heel, rounded at the corners; and a Velcro-closed zipper on the inside.
  62. ^ Bender, Marylin (19 October 1965). "A Vote for American Legs". The New York Times: 47. ...Mr. Vivier...had been creating boots for the last half dozen years [since 1959]...
  63. ^ Peterson, Patricia (28 July 1961). "Dior Silhouette is Narrow". The New York Times: 24. ...Roger Vivier of Dior suggested heeled, square-toed boots of fur or leather and wool.
  64. ^ Daves, Jessica (1 September 1961). "What Difference Does Paris Fashion Make This Season?". Vogue. 138 (4). New York, NY, USA: The Condé Nast Publications: 182, 186. ...little...boots with a suit or a coat – Roger Vivier at Dior actually showed them with evening things, too...[186] Cat boots with checkered tops by Roger Vivier.
  65. ^ "High-Style Boots Rise to the Knee". The New York Times: F68. 9 May 1962. Knee-high and made in a variety of leathers, fake furs and mock reptiles, [boots] will be worn for the first time as a major part of many costumes. The most influential style in the fall sportswear collections currently taking place is the narrow, near-knee, flat-footed ballet boot...It is being shown in taupe and camel suède by Evan-Picone...Rudi Gernreich shows it in patent leather over tights...Mid-calf and ankle styles will be popular alternatives to the ballet boot.
  66. ^ Daves, Jessica, ed. (1 October 1962). "What to Wear with Your New Boots". Vogue. 140 (6). New York, NY, USA: The Condé Nast Pvreelaublications: 158–165. [a variety of mostly lower calf-height boots with low heels by Charles Jourdan and Roger Vivier shown with various outfits]
  67. ^ Neal, Jean Kreuger. "Fashion". The 1964 World Book Year Book: Reviewing Events of 1963. Field Enterprises Educational Corporation. pp. 342, 343. Boots of many shapes and sizes added flair to fashion in 1963. Model wears...thigh high...boots of taupe glove elk, laced in back....Boots were seen everywhere, in heights from the ankle to the thigh.
  68. ^ Molli, Jeanne (28 December 1963). "Artist Spins Decorations Out of Sugar". The New York Times: R14. The sensationally successful hip boots Roger Vivier designed last July for the St. Laurent collection are...made in satin for evening as well as in reptile and leather.
  69. ^ Peake, Andy (2018). "Chapeau Melon et Bottes de Cuir". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 57. ISBN 978-0-7643-5499-1. Yves Saint Laurent's fall...1963...visored caps, black leather jerkins, and Roger Vivier's towering cuissardes [thigh-high boots] in black crocodile...gave what [the Daily Mail's Iris] Ashley called 'a real space girl effect...'
  70. ^ Daves, Jessica, ed. (1 September 1963). "Vogue's First Report on the New French Clothes and the Fresh Excitement of Paris". Vogue. 142 (4). New York, NY, USA: The Condé Nast Publications: 165. ...St. Laurent...began by...parading the far-flung heroines of science fiction – a space queen...in black kidskin, with narrow trousers, crocodile boots zipped up as high as waders. On and on they came, like a rush of trippers from Mars...
  71. ^ Peake, Andy (2018). "Chapeau Melon et Bottes de Cuir". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 57. ISBN 978-0-7643-5499-1. Vivier had originally designed the boots for Rudolph Nureyev's performance as the prince in Swan Lake.
  72. ^ Vreeland, Diana, ed. (15 February 1967). "The Beautiful People in Boots". Vogue. 149 (4). New York, NY, USA: The Condé Nast Publications: 128. ...Vivier's waist-length elasticized...black satin...boots
  73. ^ Vreeland, Diana, ed. (15 September 1967). "Paris". Vogue. 150 (5). New York, NY, USA: The Condé Nast Publications: 108. ...long [thigh-high] clear plastic boots....[b]y Roger Vivier for Ungaro.
  74. ^ Vreeland, Diana, ed. (1 March 1963). "Special from Paris – Couturier Shoes". Vogue. 141 (5). New York, NY, USA: The Condé Nast Publications: 146–147. ...the Vivier...[calf-high] gabardine boot in off-brown...with black alligator...cut-way-in heel...
  75. ^ Vreeland, Diana, ed. (15 September 1964). "Paris". Vogue. 145 (5). New York, NY, USA: The Condé Nast Publications: 111. The pantboot – boots and pants at a stroke – from Simonetta & Fabiani...under very short high-waisted tunics [minidresses]....These by Roger Vivier.
  76. ^ Vreeland, Diana, ed. (1 July 1968). "Fashion Forecast: The Next Direction". Vogue. 152 (1). New York, NY, USA: The Condé Nast Publications: 53. ...shoes-and-jumpsuit, all in one – [low-heeled] white patent Corfam pumps with rounded heels and squared-off toes – joining up with a belted pink stretch jumpsuit...of Orlon, nylon, and Lycra (Nattier fabric). By Roger Vivier for Jean Marie Armand.
  77. ^ Emerson, Gloria (31 July 1966). "The Unchanging Mme Gres and the Mischievous Mr. Capucci". The New York Times: F46. Retrieved 30 May 2023. ...Ungaro...has a new squared silver boot designed by Roger Vivier...
  78. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. Roger Vivier shows new boot he designed for Emanuel Ungaro...It is white leather with silver strip at top that unclasps like a bracelet.
  79. ^ Emerson, Gloria (31 July 1967). "Cappucci, the Bravest Designer in All of Paris". The New York Times: 31. ...[I]n Ungaro's collection,...Vivier's new seven-league boots...cling like adhesive...
  80. ^ Bender, Marylin (2 December 1963). "Vivier's Shoes Now Appearing in U.S. Stores". The New York Times: F64. There is...a black calf ankle boot with a stacked heel, a platform sole and a red plaid lining...
  81. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. Vivier's new collection...seems to stem from the nineteen-forties, although he quietly denies it. The most important shoe has a platform sole...He believes attention should be drawn to the heel as long as so much limb is uncovered.
  82. ^ Vreeland, Diana, ed. (1 March 1967). "Paris: The New Viviers". Vogue. 149 (5). New York, NY, USA: The Condé Nast Publications: 194–195. The platform-sole sandal – silver lizard on red-lacquered wood, squared at the toe....Platform sandal in print...Ankle-strap platform sandal in black-and-white surah....Navy platform sandal – shiny Corfam on lacquered wood sole....Sling back, open toe – white Corfam pump; lacquered navy platform.
  83. ^ Emerson, Gloria (26 July 1967). "Paris Couturiers Hedge All Bets". The New York Times: 26. The newest Vivier shoe – some will be seen...in Yves Saint Laurent's collection – is called 'le socle.' It only means a thick platform sole. Socle is the French word for pedestal....Even when he designs a boot that covers the leg...there is often the platform sole...
  84. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. The new Vivier heel may be only two and a half inches high, but it looks higher because the heel is narrow on top and then widens.
  85. ^ Emerson, Gloria (25 January 1967). "Paris Generates Shocks with Shoes". The New York Times: R75. For Saint Laurent's new Africana, Vivier has some sandals with masks covering the shins. He also designed sandals that have coils of leather around the ankles; the inspiration must have come from African women who wear bangles.
  86. ^ Vreeland, Diana, ed. (15 April 1969). "Men in Vogue". Vogue. 153 (8). New York, NY, USA: The Condé Nast Publications: 41. Square heel and toe, shape of Roger Vivier's first to-order collection of men's shoes...
  87. ^ Emerson, Gloria (31 January 1970). "It's the Cerruti Look". The New York Times: 40. Roger Vivier...now has men's shoes, made-to-order, at his shop at 24 rue François l.
  88. ^ "Designer Provides Basset-Hound Droop in Ready-to-Wear". The New York Times: 30. 24 January 1964. Among certain fashionable young people in Paris, the couture is outmoded and ready-to‐wear...is the rage.
  89. ^ Mulvagh, Jane (1988). "1968". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 306. ISBN 0-670-80172-0. Balenciaga retired from the couture this year. His parting remark was, 'The life that supported the couture is finished. Real couture is a luxury which is just impossible to do anymore'.
  90. ^ Morris, Bernadine (22 July 1970). "Cardin Moderne, but Chanel Toujours Chanel". The New York Times: 66. Roger Vivier, the shoe man, has dispensed with his couture clients...and is concentrating on his retail shops.
  91. ^ Schiro, Anne-Marie (18 December 1984). "30 Years of Shoes by Vivier". The New York Times: C15. A flat-heeled white lace boot from 1970...
  92. ^ Morris, Bernadine (22 July 1970). "Cardin Moderne, but Chanel Toujours Chanel". The New York Times: 66. His fall collection is a homage to the mididress, with stretch satin boots that climb up to the knees, ankle‐high boots that are cut out in front and laced up the leg...There's also a new pump that's very plain, with a vamp climbing high in front. It has a heel that's about 2½ inches...
  93. ^ "Shoes for Shorts". The New York Times: 41. 28 January 1971. Roger Vivier, the shoe man, has devoted himself to the problem of what to put on your feet when you're wearing shorts. What indeed? Platform shoes, modified wedgies and, of course, boots. The boots rise over the knees or stop at the ankle. Either way, they have a zipper in the front.
  94. ^ Mirabella, Grace, ed. (1 December 1984). "High Stepping: Vintage Vivier". Vogue. 172 (12). New York, NY, USA: The Condé Nast Publications: 286. ...Vivier...works in a castle in Périgord...
  95. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 294. Roger Vivier...closed his shop, retired to the Château d'Aubeterre...But Roger Vivier...began doodling, evolving new shapes,...looking out over the rich landscape of the Charente....Vivier...has worked on sculptures of shoes and heels...[H]eels five feet high and shoe lasts that could be couches rise up from the stone floor, made of laminated wood...
  96. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 294. In 1980, an exhibition in Bordeaux, Paris, and New York City showed off Vivier's past creations.
  97. ^ Sweetinburgh, Thelma (1984). "Fashion and Dress". 1984 Britannica Book of the Year: Events of 1983. Encyclopaedia Britannica, Inc. p. 376. ISBN 0-85229-417-4. Oldtime Hollywood glamour provided the inspiration for another fashion trend, a body-clinging form with hips draped, wrapped, and bowed.
  98. ^ Donovan, Carrie (18 April 1982). "The Spirit of New York". The New York Times. p. 80. Retrieved 4 April 2022. ...[T]his new spirit harks back to the glamour and dressed-up correctness of the 1950s, but now tuned to the women of the 1980s. It makes accessories such as hats, high-heeled pumps, perhaps even gloves and red lipstick, desirable once more.
  99. ^ Duka, John (26 November 1980). "The Spring Collections: Looking Backward". New York: 72. Retrieved 22 June 2022. Seventh Avenue designers...move another decade toward the present with their 'new' collections of sixties clothes: ruffled necklines, feathered cocktail dresses, dropped waistlines, and miniskirts...Pauline Trigere...pulled out some of her minis from the sixties...
  100. ^ Elkins, Ann M. (1980). "Fashion". The Americana Annual 1980: An Encyclopedia of the Events of 1979. Grolier Incorporated. p. 218. ISBN 0-7172-0211-9. ...pumps, the shoe of the year. The most important shoe shape, the pump came in every color and every style – D'Orsay, sling, opera, spectator – all with a higher, narrower heel, often cone-shaped...
  101. ^ Mirabella, Grace, ed. (1 December 1985). "Vogue's Last Word". Vogue. 175 (12). New York, NY, USA: The Condé Nast Publications: 358. ...[H]eeled pumps...are the finishing element for everything...[H]eeled pumps provide a lift, a 'dressed' edge.
  102. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 364. [Quoth Vivier,] 'The explosion of different styles in the last fifteen years means that different looks coexist...[T]he shoe designer is allowed great fantasy because there is no longer one line that he has to follow'.
  103. ^ Schiro, Anne-Marie (18 December 1984). "30 Years of Shoes by Vivier". The New York Times: C15. Of more recent design are sandals with geometric shapes and cutouts, appliques and thin straps that go in all directions around foot and ankle....
  104. ^ Schiro, Anne-Marie (13 August 1985). "Notes on Fashion". The New York Times: B7. The newest Vivier shoe has a very low back...Thin straps crisscross in back and tie around the ankle to keep the shoe on the foot. Other versions of the low back are held on with ribbons, thongs or silky scarfs.
  105. ^ Schiro, Anne-Marie (13 August 1985). "Notes on Fashion". The New York Times: B7. ...comma-shaped aluminum heels...
  106. ^ Schiro, Anne-Marie (23 December 1986). "Party Shoes to Make Cinderella Jealous". The New York Times: B8. Roger Vivier...has put his gold-metal comma-shaped heel on one of the fantasy shoes made by Rene Caovilla of Venice...
  107. ^ Schiro, Anne-Marie (13 August 1985). "Notes on Fashion". The New York Times: B7. ...a very high heel decorated with a pavé rhinestone ball.
  108. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 294. ...Roger Vivier...and his [thigh-high, yellow] 'mimosa' boot...
  109. ^ Schiro, Anne-Marie (13 August 1985). "Notes on Fashion". The New York Times: B7. ...ankle straps decorated with removable masks...
  110. ^ Mirabella, Grace, ed. (1 December 1984). "High Stepping: Vintage Vivier". Vogue. 172 (12). New York, NY, USA: The Condé Nast Publications: 286. Maquettes for a new African sandal boot.
  111. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 294. This month, the Musée des Arts de la Mode in Paris offers a Vivier retrospective...
  112. ^ McColl, Patricia (27 December 1987). "Fashion: In Vivier's Shoes". The New York Times: 36. Now, through March 15, 350 pairs of Vivier's shoes are on display at the Musée des Arts de la Mode in Paris to celebrate the 50th anniversary of the opening of his first atelier. Most of the shoes are custom-made, many of them newly created for the show.
  113. ^ Mirabella, Grace, ed. (1 December 1984). "High Stepping: Vintage Vivier". Vogue. 172 (12). New York, NY, USA: The Condé Nast Publications: 286. On December 4, 'Architecture du Frivole,' an exhibition of Vivier's work, opens at Christian Duvernois'[s] Façade gallery; it runs through mid-January.
  114. ^ Schiro, Anne-Marie (18 December 1984). "30 Years of Shoes by Vivier". The New York Times: C15. Christian Duvernois, director of the Façade Gallery...is exhibiting three decades of shoes by Roger Vivier of Paris....The 36 shoe models in the show...date from 1954 to 1984...Many of his creations are in the permanent collection of the Costume Institute of the Metropolitan Museum of Art.
  115. ^ Schiro, Anne-Marie (13 August 1985). "Notes on Fashion". The New York Times: B7. Roger Vivier...has now decided the time is right to re-enter the American market. So he came to New York last week to show his spring 1986 collection to store buyers and to announce the opening next month of a Roger Vivier shoe salon at 965 Madison Avenue...The new boutique will offer a line of ready-made shoes...plus a line of shoes custom-made by hand in Paris...
  116. ^ Buck, Joan Juliet (1 December 1987). "Once Upon a Shoe...". Vogue. 177 (12). New York, NY, USA: The Condé Nast Publications: 294. A selection of his work has been available in a successful Vivier boutique in New York City.
  117. ^ Trasko, Mary (1989). "Chapter Three: Triumph of the Stiletto". Heavenly Soles. New York, USA: Abbeville Press. p. 84. ISBN 1-55859-324-1. ...Princess Grace of Monaco...ordered scores of Vivier's extraordinarily crafted shoes to complement her Dior gowns.
  118. ^ Vreeland, Diana, ed. (15 October 1965). "Vogue's Own Boutique". Vogue. 146 (7). New York, NY, USA: The Condé Nast Publications: 75. The Duchess of Windsor ordered these [plaid gaiters] from Roger Vivier....Zipped up under the decorative buttons. Worn over a square-heeled, -toed patent pump. The Duchess sent some tweed of her new Venet suit so her gaiters will coincide.
  119. ^ Taylor, Angela (29 October 1965). "Regine is Here for the April in Paris Ball". The New York Times: 47. Regine,...[t]he queen of the Paris nightclubs,...laughed 'Oh la la!' about what she had brought with her. Counting on her expressive, short-nailed fingers, she enumerated. Twenty-seven pairs of shoes, all by Roger Vivier...
  120. ^ McColl, Patricia (27 December 1987). "Fashion: In Vivier's Shoes". The New York Times: 36. He has...fashioned boots for John Lennon, complete with rhinestone-studded heels.
  121. ^ Hannah Shakir (October 2009). "Vivier la Reine!". Glass Magazine. Archived from the original on 17 July 2011. Retrieved 23 October 2009.
  122. ^ Peake, Andy (2018). "Chapeau Melon et Bottes de Cuir". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 57. ISBN 978-0-7643-5499-1. Vivier...designed...for Rudolph Nureyev...
  123. ^ Molli, Jeanne (28 December 1963). "Artist Spins Decorations Out of Sugar". The New York Times: R14. [Yves Saint Laurent] and [Roger Vivier] have collaborated on the costumes for the latest show of Zizi Jeanmaire, the dancer, which has just opened at the National Popular Theatre. Miss Jeanmaire performs in a long black leotard with an enormous champagne-colored ostrich feather boa and made-to-order hip boots of champagne-colored satin.
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