Fiercely Schiaparelli: All that Glitters and Roars

In the 2006 film, “The Devil Wears Prada,” Nigel flippantly says to Andrea: “Yes, because that's really what this whole multibillion-dollar industry is all about, isn't it? Inner beauty.” This, I believe, is one of the most succinct ways of expressing the dichotomy that the fashion world represents. There is a practicality to fashion that cannot be denied, yet an outrageousness that occupies a realm of fashion that doesn’t seek the approval of the former. Nowhere was this more explicitly on display than during the Maison Schiaparelli showcase at the dawn of this year’s Paris Haute Couture Fashion Week. [ihc-hide-content ihc_mb_type="show" ihc_mb_who="1,2,3,4" ihc_mb_template="1" ] Schiaparelli is a name that you either know or you don’t by way of what images it elicits. Even some of the most industry-conscious people might find themselves caught off guard when asked to make reference to or describe a Schiaparelli. This obscurity is tribute to the lasting signature that was originated by the fashion outfit’s founder. In 1927, a young Italian woman in her late 30s brought her visual fantasies to life through wearable textiles. It all started with knitwear and made its way to some of the most awe-inspiring eveningwear by the time of her passing in 1973. Elsa Schiaparelli was born into an aristocratic family and took to fashion as something beyond mere expression of self but of manifesting dreams. It is no wonder that The New York Times announcement of her passing applauded her for “bringing colour to fashion”. This colourful nature was echoed in Daniel Roseberry’s latest haute couture collection for the fashion house. Having moved from Thom Browne following a decade-long engagement seeing him lead the men’s and women’s collections, Roseberry took on the Artistic Director position at Maison Schiaparelli in 2019 – five years after its rebirth. When Schiaparelli returned to the world of high fashion, its founder’s uninhibited exploration of surrealism guided the way. It was in 1938 that ‘The Tears Dress’ got people talking – not for its simple, paired down structure, but for the iconic, Dalian, flaming pink tears cascading down the garment with a felinesque motif. Witnessing such artistry continue to grow and set the house apart is a study in knowing one’s lane and sticking to it. Over the five years of collections, Roseberry’s probe of the Schiaparelli galaxy of surrealist expressions has been what could be called one-upmanship against the self. His debut collection featured colour, ruffles and fabric teased into unbelievable blooms. This was followed by 2020’s drapes, leather and extending on bubble tailoring. Two years later, the gob-smacking collection titled “The Gilded Age” was showcased in Paris. A collective exploration of hardware, cosmic architecture, tenderness, lightness and weight, this collection reminded the world, once again, of how unhinged yet captivating high fashion could be. Perhaps this is why, in honouring her invitation to the 2023 show, musician Doja Cat merged her unbounded style with the lengths Schiaparelli is known to go. Doja Cat was one of two guests at the show who turned heads and had tongues wagging. Arriving completely decked in red from scalp to toe in a custom dress from the show, the muso further got celebrity make-up artist and industry legend, Pat McGrath, to bedazzle her arms, shoulders, face and head with 30,000 ruby Swarovski crystals. Much as it was triggering for those with trypophobia, it was, nonetheless, a sight to behold for its excessiveness. Lifestyle billionaire Kylie Jenner also wore a custom gown from the collection, yet hers was one of a triptych inspired by characters from Dante’s 14 th Century poem, “Inferno.” Animal lovers were certainly shocked to see a life-size, lion’s head with mouth agape upon Jenner’s shoulder, but the trio of beast busts – including a snow leopard and a black wolf – was yet to be revealed during the show. Paying homage to the house’s meticulous executions, Roseberry’s show notes indicate the calculations behind the hyper-realist foam and resin animal details saying, “mimicry… becomes its own form of Surrealism in this collection, such that you're never quite sure who made the piece you're looking at – was it nature?” It is within this world that eyebrow-high bodices with giant jewels set in gold sit alongside oversized leather jacket dresses and starchy, floss-like lace shirts. The box to be thought outside of is itself in a perpetual state of melting. While the wears that Maison Schiaparelli has grown to notoriety for may not be to the taste or the understanding of many people, the house’s continued existence is proof that the formula at work delivers. Multi-Grammy award winner, Adele – whose style is rather pared back – religiously enjoys wearing their garments, as does Kim Kardashian, for whom Roseberry made a green gown featuring a moulded six pack leather bodice. As such, whether it’s a matter of experiencing or being experienced, the words of Miranda Priestly, Meryl Streep’s lead character from “The Devil Wears Prada” to Andrea as they whiz through Paris during the illustrious fashion happening ring true: “Don’t be ridiculous. Everybody wants this. Everybody wants to be us.” When flaming in Schiaparelli, there is no option but to believe this beyond a doubt. [/ihc-hide-content]

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Fiercely Schiaparelli: All that Glitters and Roars

You either know it or you don’t by the images it elicits. What is clear is that there is an obscurity about Schiaparelli that points to the continued existence of the fashion house as proof that the formula at work delivers

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Fiercely Schiaparelli: All that Glitters and Roars

You either know it or you don’t by the images it elicits. What is clear is that there is an obscurity about Schiaparelli that points to the continued existence of the fashion house as proof that the formula at work delivers

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