I know how women secretly dream to dress



Loris Azzaro dresses the most beautiful women in the world. Marisa Berenson, Jane Birkin, Dalida, Sophia Loren, Brigitte Bardot and Tina Turner are among the faithful of the rue du Faubourg St Honoré where Loris sets up his workshops and his Couture salon in 1970. The press seizes the phenomenon and his muses make the cover of the biggest fashion magazines that love the festive and sensual spirit of these photos.


Ubiquitous and yet confidential, Loris Azzaro’s legacy is fundamental in the history of fashion. The origins of Loris Azzaro evoke the shimmering fabrics of the souks of Tunis where he grew up, the passion of his Italian parents for opera, the French literature he teaches. Nothing predestined him for luxury and glamor. When he arrived in Paris in 1962, an undocumented immigrant, his background was an old Simca, the ambition of his wife Michelle and an extraordinary charisma. In 1966, Reinhard Luthier became his accomplice in creation and the trio opened a first workshop, a boosted atmosphere in 18 square meters where customers jumped on sequined jackets, lurex dresses and pearl belts. Creation will always be for Loris a joyful and collective adventure in which, thereafter, his two daughters, Béatrice and Catherine, will take part.

I made them beautiful and they made me famous.


Unconventional and free, Loris Azzaro embodies the spirit of the 70s. No more shackles of evening dresses, he invents daring, sensual and glamorous dresses that free the body and codes. His very recognizable style imprints the era of hedonistic provocation. Embellished with embroidery, its jersey drapes seem to hold only a thread and flow along the body with obvious naturalness. Her lamé dresses make nights vibrate with sensual elegance. Its suggestive cuts enhance the silhouette without ever falling into the vulgar. Loris Azzaro has put his iconoclastic vision at the service of women. Far from clichés on femininity, it sublimates the singularity of each woman. The Azzaro woman? A woman who assumes her femininity with spirit, ease and freedom. A woman who does not need the male vestiaire to feel free and independent. A woman who, for one day or one night, plays with her own codes of femininity to create trouble.


With the pompous spirit of 30s and the irreverence of the 70s, Loris Azzaro dresses Parisian nights with audacity and strass. For the evening, at a time when women dare to make metamorphoses, he creates breathtaking dresses for scripted femininity. With humor and lightness. A neckline in rings of embroidered curtains, bestseller after having made the cover of ELLE in 1968. A glittery heart by way of bustier. A golden metal bag carved in the shape of a mold or an XL diamond clutch bag. Surrealism hovers over his creations as well as in the photos which show them off in Loris’ monumental bathroom, with walls covered with mirrors. The photogenic nature of his dresses fits perfectly with the disturbing and uninhibited universe of Guy Bourdin or Helmut Newton, who then revolutionized fashion photos.


His vision goes beyond fashion, he cultivates a universe where beauty, glamor and anti-conformism are endlessly declined. The lens of the greatest photographers of her time, such as Helmut Newton or Guy Bourdin, immortalizes his joyful and golden lifestyle where his star friends and the women of his life meet, against the opulent background of his apartments. Strong images that signify the sulphurous and carefree spirit of the 70s. On the sidelines of the Chambre Syndicale de la Couture to which he never sought to join, Loris Azzaro wrote a dazzling success in the history of fashion, recognized by the greatest couturiers of the time and of the present.


Loris Azzaro dresses women in transparency. The vertiginous necklines and endless slits are veiled and suggest more than they reveal. These dresses which draw sculptural lines on the body evoke the possibility of transgression. The play of matter composes and decomposes the silhouette. In black, fatal, of course. “Fashion is closely linked to eroticism. At all times, adornment has served love. »Affirms this lover of women to whom he offers the weapons of liberated seduction: sensuality, mystery and assurance. Women seize it and dare to wear these dresses on the skin by revealing without being vulgar.


The 70s love what glitters. Loris Azzaro lights up the nights with glitter and jewels. The embroidery underlines the impeccable fall of the dresses and sublimates the bodies. His art of the perfect line is combined with the embroidery know-how of the Maison Lesage and the unmissable Swarovski crystals and celebrates the excellence of the work by hand. Each creation is unique and is part of the heritage of French Haute Couture. The lacquered black of the sequins runs along the bodies. The embroidery scattered on the tulle conceals and reveals it. One day, Marisa Berenson, who had come with make-up and her hair, left with an unattached sheath, sewn to the body. Women adorn themselves with light and invent themselves as lethal creatures, like the Hollywood vamps of the 30s who fascinated Loris Azzaro.


Depuis le début, Loris Azzaro appelle ses parfums ses « armes de séduction ». Il y eut d’abord les parfums de sa jeunesse, des fleurs et des épices de sa Tunisie natale, de la cuisine, des agrumes, de l’Italie. Ensuite, les effluves de la vie. De sa vie. « Je suis habité par cette Méditerranée qui a indéniablement marqué mon enfance ». Cette perception sensorielle de l’existence donnera naissance aux parfums légendaires Azzaro Couture, Azzaro Pour Homme, Chrome et aujourd’hui, Azzaro Wanted.



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