Elsa schiaparelli fashion show
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Haute Couture Spring-Summer 2025
You’ll see some of these ribbons this morning on the dresses in this collection. As I ran my hand among them last year, I realized what I wanted to do: Create something that feels new because it’s old. I’m so tired of everyone constantly equating modernity with simplicity: Can’t the new also be worked, be baroque, be extravagant? Has our fixation on what looks or feels modern become a limitation? Has it cost us our imagination?
The process began with the ribbons’ colors. There were butters, saffrons, faded peacock greens and burnt saffron browns. We dubbed t
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At Schiaparelli, Daniel Roseberry Flies Just Close Enough to the Sun
While preparing for his latest couture show, Schiaparelli artistic director Daniel Roseberry indulged in a little time travel. Namely, he took a trip into an archive of ribbons from pre-World War II-era France, now slightly faded and housed in an antique shop.
Some of those very same ribbons funnen their way into Schiaparelli’s collection, shown today in Paris and titled “Icarus.” They also spurred him to look to certain ghosts of couture past, including Madame Grès and Charles Frederick Worth. He was inspired by their quest for perfection, which didn’t hold the same connotations it does today of extreme paring-back.
“I’m so tired of everyone constantly equating modernity with simplicity: Can’t the new also be worked, be baroque, be extravagant?” Roseberry asked in his show notes, which often read more like mini-manifestos. “Has our fixation on what looks or feels modern become a limitation? Has it cost
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Schiaparelli Spring 2025 Couture: Get Waisted
As luxury grapples with its worst crisis in 15 years, many designers are embracing minimalism as an antidote to overstuffed wardrobes. Not Daniel Roseberry.
The Schiaparelli designer kicked off Paris Couture Week with a celebration of opulence rooted in historic forms and turn-of-the-century embroidery techniques. Not since the 1950s have so many models been poured into corsets, which underpinned almost every look.
“I’m over the idea that minimalism equals modernism, and so I found that my eye was hungry and thirsting for something that was a bit less streamlined, a bit more worked,” Roseberry said backstage.
In the absence of a defining Schiaparelli look, the designer has made the hourglass shape — a nod to the house’s Shocking fragrance bottle shaped like a dressmaker’s model — a signature of his tenure at the house.
He toyed with extreme volumes, with jackets with low orb