They say it’s heels or flats, but never in-between. Whether it’s Manolo Blahnik or Christian Louboutin, every shoe has a story that shapes its character. The Repetto ballerina is ultimately the story of a mother’s love for her son who wanted better and more comfortable shoes to dance, one that ultimately would lead to the innovation of women’s shoes and the very ballerina shoe itself.
It all started in 1947, in a tiny atelier near National Opéra de Paris, where Rose Repetto created her first ballerina shoe for her son Roland Petit, who was a major French choreographer. Almost a decade later she dedicated the scarlet red Cendrillon (Cinderella) to Brigitte Bardot, who had asked Mrs. Repetto for a ballerina shoe that could be worn on the street. Bardot wore them as the sultry and impulsive Julliet Hardy, in Vadim’s ‘Et Dieu créa la femme’- that is when she wasn’t habitually kicking her shoes off to walk around barefoot on set. The cendrillon has remained the maison’s signature ever since. Loyal to its heritage, Repetto has made shoes for some of the best dancers and prima ballerinas this world has known. Bejart, Noureyev, Barychnikov, Carolyn Carlson, the ballerinas at the Opéra de Paris and the Folies Bergères all wore Madam Repetto shoes. Today the maison makes about 500.000 ballerina shoes a year, still applying Madam Repetto’s famous Stitch and Return method to every single piece.
The ballerina shoe has come a long way lead by Reptetto Paris, from ballet to Brigitte Bardot, ultimately making its way to the street. The cendrillon remains a favourite to generations of women all over the world who desire a pair for the attractive shape this very open shoe gives the foot. It’s success lies in its simplicity. It is the one of a kind flat shoe that has the power to turn any ensemble in to chic, and although it is available in several hues and motifs today, the Red Couture Cendrillon remains our personal favourite. We imagine you gracefully dancing them away on the busy streets of Tehran, going from one meeting to another.