Daniel Roseberry has re-catapulted the house of Schiaparelli to new couture heights in the last few years. The historic brand, founded by Elsa Schiaparelli in 1927, was only recently resurrected; once a rival of Coco Chanel, Elsa would never live to see the brand as it is today; herself having closed its doors in 1954. Schiaparelli is steeped in Parisian fashion lore – not least by its designation as a ‘haute couture’ house, which is a titled only provided by law, specifically The French Couture Federation; no brand may use this epitaph or title in describing their work, and its tenets include immaculate craftsmanship, specific use of techniques, and individual design and tailoring to clientele.
Schiaparelli joins just 15 others houses in being defined as haute couture, and allowed to participate in the sacral runway couture shows; Chanel, Christian Dior, Givenchy, Jean Paul Gaultier, Maison Margiela, Giambattista Valli, Franck Sorbier, Adeline Andre, Alexandre Vauthier, Alexis Mabille, Maurizio Galante, Stephane Rolland and Yiqing Yin.
Since his appointment as creative director, Daniel Roseberry has exceeded expectation as to what a couturier may look like in the 21st century; and for someone who once considered joining the ministry as a priest, it has been said that he acts as a vessel for higher, divine ideals of dressing – or as I term it, ‘sartorial consciousness’. As so succinctly described by the house’s website, “During his tenure, Roseberry has become known for resurrecting some of the Maison’s most beloved and influential codes and iconography, while paying homage to its founder, Elsa Schiaparelli’s love of Surrealism; at the same time, he has subverted many of those same codes, contributing a new aesthetic vocabulary with his frequent use of gold jewellery and hardware, repurposed denim, and moulded leather and metal breastplates and body parts. Like Schiaparelli herself, who was known for her technical innovations, Roseberry is particularly interested in experimenting with new or unlikely fabrics, and exploding the idea of what couture can–or should–be.”
Yesterday, 23 January 2023, Schiaparelli shocked & delighted viewers from Paris with an allegorical exhibition of eerily-realistic wolves, lions and leopards draped around models & celebrities (Kylie in her Leo element) – crystals and tailoring depicting the ingenious craftsmanship sense of craftsmanship possessed by the house. Sending waves of adulation from fashion-devotees and attendees (it was certainly a sight to behold, even from my screen) – contrasted with comments on Instagram expressing sentiments of disgust or confusion regarding animal cruelty. Some took the comment sections of Schiaparelli’s post saying “this is glorifying poaching and animal cruelty” or “trophy hunting is not fashionable” – and another saying, “there is a fine line between couture and costume” – or “what is the message behind this supposed to be?”. Other comments suggested that the collection showcased the possibility of replicating fur so exceptionally today, that animals should never have to be harmed again. The looks in question – bulging animal heads – made up a small portion of an otherwise demure, elegant showcase.
Couture is going to be polarising, particularly in this day and age; the very essence of this practice is rooted in decadence, detail and a price-tag that most of the world will never truly be able to access. In a wild performance of ‘nature’ as our greatest architect – Roseberry’s Schiaparelli continues to embody the role of couture as a stage for the most ludicrous and surreal dreams in fashion. However, in a world where dreams are pitted against violence, war, cost-of-living crisis – is there even space anymore for luxury fashion’s most bold fantasies?
Images: Fillipo Fior for Gorunway.com
Written by: Holly Beaton
Published: 24 January 2023
