Berluti Alessandro Oxford – Luxury Craft Meets Timeless Style

In 1865, in the quiet port town of Senigallia in Le Marche, along the Adriatic, young Alessandro Berluti began his story as an apprentice. While others were drawn to the sea, he was drawn to wood, shaping carriages, seats, and reins, unknowingly crafting the roots of a shoemaker’s destiny.

His hands learned accuracy through wood carving, shaping each last to match a client’s foot with perfect craft. In 1882, he left Italy, journeying to Paris, the City of Light, chasing the joie de vivre and bringing with him the calm discipline of his homeland.

A perfectionist among shoemakers, Alessandro quietly built his name among fellow-countrymen and the Parisian elegance that flowed from the Opéra to the Tuileries. His workshop near grand hotels began drawing a wealthy, international clientele that appreciated novelty and precision.

The century of scientific progress inspired him, just like the Symbolists and artists of his time who dreamed in poetic tones and shaped mythology into Art Nouveau. His work reflected the same aesthetic, like the brush of Boldini, the tone of Proust, or the lines of Sargent.

In 1895, he created the Alessandro lace-up—a shoe carved from a single piece of leather, with no visible stitching, soft as a glove. It became iconic, setting the tone for the House, and capturing the eye of Zénaïde and Torello, both admirers and muses.

His son Torello, blessed with the creativity of a carpenter and the finesse of a cabinet maker, infused the brand with intelligence and respect for noble materials—from wood and cloth to delicate accoutrements, all tied with an elegant thread of living design.

Through the Roaring Twenties, from 1922 to 1928, the bootmaker introduced new styles like the Richelieu à plastron and Sans Gêne, playing with volume, sizes, and beauty. His atelier at 9 rue du Mont Thabor had a waiting list full of wealthy and international clients.

Later, rue Saint Honoré, 26 rue Marbeuf, and the Champs-Elysées would host the likes of Gaston Gallimard, Jean Cocteau, and Yul Brynner—members of the intelligentsia, artists, and ambassadors, all drawn to Berluti’s excellence and detailing.

With Talbinio, Berluti entered a new era—focusing on silhouettes, lace-up loafers, and a ready-to-wear line in 1959. This wasn’t a departure from tradition, but rather an expansion of functionality, design, and the spirit of innovation.