Schiaparelli never disappoints, and this collection certainly delivered. While admiring historical ribbons from the 1920s and 1930s at an antique shop, Creative Director Daniel Roseberry had a revelation. As he ran his hands along the ribbon’s buttery fabric, he understood what he wanted to do: “Create something that feels new because it’s old.”

“I’m so tired of everyone constantly equating modernity with simplicity”, he revealed in the show notes. “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 collection is the answer to these questions. And with that, Roseberry set out to reframe how we perceive modernity. 

The ribbons became a gateway to time travel, exporting him to a place of clarity. He wanted to echo the designs and silhouettes of the past Haute Couture greats, such as Madame Grès, Charles Frederick Worth, Paul Poiret, Yves Saint Laurent, and Azzedine Alaïa.

What emerged was a blend of curvy, shapely forms—which Roseberry coined liquid deco—and structured prewar Schiaparelli jackets. Experimenting with technique, he reimagined the classic Schiaparelli blazer, cut in ultrasuede and embroidered with silk satin thread. 

The second golden era of Haute Couture, the 1950s, was reflected in structured silhouettes reworked with new proportions. For instance, an A-line baby doll dress was amended to drop from the hips and padded to mirror the bust line. 

Roseberry vows to push boundaries and reach new and exciting heights—always with a sentiment to deliver a taste of escapism.