As Paris Couture Week opens its doors for the third season as an event in the containment era, Schiaparelli begins the program with a collection that perfectly embodies the future of Haute Couture. Creative Director Daniel Roseberry once again manages to emulate the avant-garde glamor of late founder Elsa Schiaparelli and embrace visionary modernist energy through the prism of yesteryear.
While many designers responded to last year’s turmoil with drastic realism, brutalist influences, and generally not-so-pretty collections, Roseberry believes that now, more than ever, it’s time to get back to all that is really. fashionable. “Ever since I started here I wanted to come back to something really pure and emotional. Obviously I didn’t want to participate in an apocalyptic fashion mentality, that’s not what I want to see or hear, ”says Roseberry,“ I found myself gravitating to shows, movies and ’80s fashion. and 90; a time before social media, before September 11, before Covid and above all in a way.
‘Matador Couture’ as titled by Roseberry, sees a multitude of influences shine throughout the collection, the namesake evident via ornate embroidery adorned with larger-than-life jackets, dresses and horns emerging from a form-fitting corset . “I’ve always liked this half-human, half-animal idea,” says Roseberry, “I always thought of Schiaparelli as a Sphinx, less human and more like a creature.” After designing this collection, Roseberry found that Elsa had already designed a whole line inspired by Spain, although he cites that this did not influence the process on this occasion: “It was really intuitive, I don’t try to refer to anything in particular. I was more inspired by the danger of it all. I love to expose myself, I love to put the house outside and I love to put it all on the line, and something about that reminded me of Matadors, ”says Roseberry.
In addition to the bullfighting riffs, a whole assortment of references to other great designers is also highlighted: “I thought it would be really interesting to come out with something that would be so in conversation with all the designers who have. referenced Schiaparelli. “There’s a lot of Lacroix, there’s a lot of Yves, Alaïa, a little Gauthier, Charles James and even a little Margiela in the way some of these clothes were constructed,” says Roseberry, “I found it really modern and weird to refer to so many different designers while still being purely Schiaparelli. ‘
It’s these amalgamations of seemingly opposing ideas that Roseberry stands for and what makes her work so great – cast gold torsos paired with shredded trash bags, body part jewelry on mom jeans and denim jackets – each garment has a long conversation with itself, and sometimes maybe even an argument, which makes it almost impossible to look away.
Of Roseberry’s four Couture collections for the home since her appointment, three have been designed, created and presented in a Covid world. “I’m dying to get back on the runway, but I think we found a way to capitalize on the lockdown,” says Roseberry, “It really democratized Fashion Week and, especially with Couture Week, it meant that billion dollar behemoths not able to command that much attention.As a small house by comparison, that meant we could do our own thing in a certain way and survive on the merit of creativity.
Roseberry is praised for its approach to haute couture, catapulting a very traditional crowd into the future and beyond while maintaining the immense design know-how that has been celebrated every season since its conception, “Modern Couture is the antidote to the numbness we all feel. We have this inability to feel things and we don’t know how to deal with intense emotions anymore because we always move on to the next image and the next subject. I think Couture offers an alternate feeling, ”says Roseberry,“ It was so emotional for me and for the team. We have had people in tears in the workshops today because they are overwhelmed by reminders of Couture from the past. It’s a reminder of why you fell in love with fashion to begin with.
This latest collection firmly maintains Roseberry’s reign at the top of the couture world, her attitude, talent and vision continue to make Haute Couture relevant in 2021. In a press release coinciding with the launch of the collection, Roseberry said said the following: “Here’s what I want: more cookie-cutter fashion. No more parts that seem like they could have been made by anyone. No more cynicism. No more irony. No more shyness. More freshness. Give me more beauty, more seriousness, more romance, more effort. I hope this collection reminds everyone who meets it of the sheer happiness that fashion can bring us in difficult times, and with it, the promise of more joy when the clouds part. Give me more fashion. Give me more hope.