{"id":60669,"date":"2025-01-28T11:34:26","date_gmt":"2025-01-28T07:34:26","guid":{"rendered":"https:\/\/graziamagazine.com\/?post_type=articles&p=264639"},"modified":"2025-01-28T11:34:26","modified_gmt":"2025-01-28T07:34:26","slug":"schiaparelli-haute-couture-spring-summer-2025","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/me\/articles\/schiaparelli-haute-couture-spring-summer-2025\/","title":{"rendered":"Aiming For The Sun At Schiaparelli Haute Couture Spring\/Summer 2025"},"content":{"rendered":"
\n

\"Kendall
Photo: @kendalljenner Instagram<\/figcaption><\/figure><\/figure>\n

In Paris, Daniel Roseberry kicked off Paris Haute Couture Week<\/a> with \u2018Icarus\u2019, a Spring\/Summer 2025 collection<\/a> that pays homage to Schiaparelli\u2019s storied legacy while exploring a deeply personal narrative of craftsmanship and imagination.<\/p>\n

At the heart of the collection lies a chance encounter with antique ribbons from the 1920s and 1930s unearthed in a small shop. These delicate treasures, imbued with colours like saffron, butter, mink, and a rich burnt brown aptly named \u201ctoast,\u201d set the tone for Roseberry\u2019s latest feat. As he wrote in his\u00a0show notes<\/a>, the designer viewed these pieces as an invitation to travel back to Haute Couture\u2019s greatest days.<\/span><\/p>\n

\u201cI spent months studying the great chapters of great couturiers from various decades: Madame Gr\u00e8s, Charles Frederick Worth, Paul Poiret, Yves Saint Laurent, and Azzedine Ala\u00efa,\u201d he writes. \u201cI didn\u2019t want to copy their work; I wanted to learn from them.\u201d<\/p>\n

These ribbons and the stories they told inspired him to create a collection that feels both nostalgic and visionary. It boldly rejects the notion that modernity must equate to simplicity or that opulence and minimalism cannot coexist.<\/p>\n

<\/blockquote>\n

The silhouettes transport us through a century of celebrated couture. \u201cLiquid deco\u201d gowns echo the slinky elegance of the 1920s and 1930s, featuring fragile silk georgette embroidered with Japanese bugle beads, which were sculpted into sharp, dramatic hip blades. Architectural Schiaparelli jackets have been streamlined and paired with 1990s-inspired bias-cut column skirts, while the 1950s golden age is reinterpreted in padded A-line baby doll dresses dropped from the hips and rendered in a sumptuous leather-like satin cuir adorned with the house\u2019s iconic motifs.<\/p>\n

Roseberry\u2019s knack for mind-boggling innovation shines through his experimental approach to material and technique. Feathers brushed with keratin achieve the weight and texture of Ginger Rogers\u2019 1930s costumes, while a pliss\u00e9 halter dress in sand-hued polyamide tulle offers a modern, structured take on founder Elsa Schiaparelli\u2019s elegant gowns.<\/p>\n

This playful craftsmanship extends to accessories, delicately treated and embroidered with Matador cording and resin rosettes.<\/p>\n

In a flurry of textures, shapes and silhouettes, Roseberry\u2019s pursuit of more<\/em> is as inspiring as ever.<\/p>\n

\u201cHaute Couture aspires to reach great heights; it promises an escape from our complicated reality. It also reminds us that perfection comes at a price. How high can we couturiers go?\u201d notes Roseberry. \u201cAs high as the sun\u2014and the Gods\u2014allow us.\u201d<\/p>\n

Watch the entire show below.\u00a0<\/em><\/p>\n

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