Schiaparelli: The Past Reimagined Though Roseberry’s Eyes

Claudia Limaverde Costa
Jul 28
4 min read

Last season, Schiaparelli redefined modernism with its Spring/Summer collection titled Icarus, drawing from the infamous Greek myth to introduce a new aesthetic - baroque modernism. This season, however, Daniel Roseberry stripped away the markers of both modernism and futurism, focusing entirely on a monochromatic colour scheme, punctuated by exaggerative patterns and a striking touch of crimson. “Gone are the expected markings of modernism,” he declared. In their place, he invoked the past to create a vision of the future, blurring the lines between nostalgia and innovation.

This collection reflects the core of Schiaparelli’s philosophy: a vision of what fashion could be. Is a gown merely a gown - or is it something more? Does the wearer animate the gown, or is the gown itself a living work of art? Roseberry leans toward the latter, merging life and art into a single, inseparable entity, “when life and art stood on the precipice; at the sunset of elegance, and at the end of the world as we knew it.” The central question this season seems to be: how far can you strip clothing of modernist and futuristic elements while still imagining the future? If Roseberry truly channels Schiaparelli’s legacy, can the past itself be reimagined as something futuristic? Schiaparelli’s move to New York once marked the close of a subversive era in fashion. With this collection, Roseberry seeks to revive that spirit—bringing us, paradoxically, back to the future.

In this collection, the iconic corseted silhouettes that Elsa Schiaparelli was known for were notably absent. In their place is a bold exploration of theatrical drama, exemplified by the tulle "squiggles and wiggles" gown. This piece reimagines Schiaparelli’s signature flair through a new lens—the undulating black tulle embellishments create shadow-like illusions over a voluminous base of white tulle, showcasing a masterful interplay of texture and contrast. The gown features an asymmetric skirt and a dramatically exaggerated collar, enhancing its sculptural presence. Paired with a bold black lip, luminous skin, sheer black tights, and classic black stilettos, the look becomes a striking homage to Schiaparelli’s unorthodox approach to fashion—a seamless fusion of art and couture. Conceived entirely in black and white, this collection sees Daniel Roseberry breaking free from traditional molds, crafting new silhouettes while reviving archival elements through intricate tailoring and surrealist influence.

Roseberry also reimagines Schiaparelli’s iconic Apollo of Versailles cape—originally created for Lady Mendl and now housed at The Met. The original black cape, richly detailed with golden imagery of the Fountain of Apollo, remains one of Schiaparelli’s most celebrated archival pieces. In this collection, Roseberry transforms the historic design into a striking silver iteration, intricately embroidered with metallic thread, silver pearls, rhinestones, and sequins. The hem is dramatically framed with black horsehair, adding weight and theatricality. Styled over a black tulle A-line skirt and paired with a bold black lip, black velvet gloves, and classic black stilettos, the cape remains the focal point of the look. This piece not only pays homage to the maison’s surrealist roots but also reasserts Roseberry’s ability to blend heritage with modern spectacle.

Roseberry reinterprets a classic gown silhouette, imbuing it with the signature Schiaparelli corseted effect while amplifying drama through bold textures and contrasting materials. One standout piece is an elegant strapless bustier ballgown, featuring a striking juxtaposition of elements: tulle defines the neckline and enhances shadows, while gathered tulle adds a three-dimensional quality to the pleats of the skirt. He also incorporates galuchat—a pebbled yet smooth material made from stingray skin, which, when polished, produces a shimmering effect—introducing an unexpected tactile richness. The base of the gown is crafted from black crepe, a fabric historically associated with mourning attire, referencing both the past and Schiaparelli’s own voyage to New York, which marked the end of her revolutionary era. Through a strictly black palette and a bold clash of textures, Roseberry transforms a timeless silhouette into something starkly futuristic—merging heritage with innovation.

The showstopping piece in this collection is a seemingly classic red satin dress featuring a bateau neckline and a low-waisted pegged skirt. At first glance, it exudes timeless elegance—but it quickly takes a surreal turn with Schiaparelli’s infamous trompe l’œil technique, used here to create an optical illusion that challenges perception. The gown’s dramatic twist lies in its back, which is sculpted to resemble the front of a female torso. Meticulously detailed with the curvature of breasts, the outline of nipples, the shadow of the ribcage, and the impression of a belly button, the result is hauntingly lifelike. Complementing the gown is an intricate red rhinestone-encrusted necklace, at the center of which lies a sculpted human heart. Through subtle mechanical pulsations, it mimics a real heartbeat—blurring the line between the anatomical and the artistic. Together, the dress and necklace embody a refined surrealism: blending elegance, illusion, and anatomical realism in a way that invites both awe and curiosity.

This collection strikes a beautiful harmony between past and future—resulting in a glorious victory for Roseberry. By drawing solely from Schiaparelli’s archives while integrating modern technology, clashing textures, and exaggerated silhouettes, he created something that feels entirely new yet deeply rooted in fashion history. It defies traditional norms while honouring legacy. The touch of red woven throughout the otherwise monochromatic palette leaves a lasting impression—especially in the beating heart design, which uses the trompe l’œil technique to create an image that lingers long after the runway closes.

Written by Claudia Limaverde Costa

Edited by Daisy Packwood, Fashion Editor