After a two year hiatus due to the pandemic, Schiaparelli and creative director, Daniel Roseberry, opened day 1 of Paris Haute Couture Week at Petit Palais.
If anything represents a long waited return to the runway, it was Schiaparelli’s collection of sharp, geometric silhouettes and elemental colors. Roseberry, looking to capture the state of our world at the moment, believed color and theatrics would be inappropriate for the occasion. Through the minimal use of color (strictly using black, white and the signature Schiaparelli gold), the runway was graced with looks of goddess turned galactic.
Roseberry was focused on the concept of “Planet Schiaparelli”; a heavenly, existential escape from the reality of the pandemic.
The silhouettes were inspired by the empyreal, in which Roseberry says the heavens “are a place to escape from the chaos of our planet, but also the home of a mythical high priestess.” Throughout the show, shapes that floated and flounced seemed to defy the law of gravity. A feathered headpiece flowed like the movement of a jellyfish. The bottom of a black dress made of crin flounced around the model, as did gold embellishments protruding from a fitted black dress.
Paying homage to the theme were details of Saturn-like rings, sculpted gold jewlery and other pieces, and eye catching circular hats to represent planets. The runway of Petit Palais was graced with orbital symbols covering dresses and a giant hat connected to a black dress with sheer tulle.
In signature Schiaparelli surrealist fashion accents like palm trees sprouting from the shoulders of a jacket, golden Saturn earrings and handbags, and celestial inspired headpieces made an appearance.
One model appeared, crying crystal tears in a halo of a gold hat and strapless black dress/
Hinting at what could be considered the show stopper was Look 7; a sheer nude top and black skirt finished off with a pair of gold crystal-encrusted gloves that have an illusion of growing flames.
Turning heads was a Medusa headpiece and matching metal dress. Draped like a chandelier with crystals, the headpiece along with the crystal-encrusted dress, were made through a technique of melting wet gold leather and molding. The figure was moulded over sculptures of the Schiaparelli emblems-the lock, the dove, and the lobster- and finished off with vintage cabochon stones.
Schiaparelli darling, Julia Fox, described this collection as “The Jetsons meet Breakfast at Tiffany’s” during her appearance with Kanye West at this years show. With the attantion to detail and commitment to such a theme, Roseberry’s depiction of “Planet Schiaparelli’s” is one worthy of a spot in a museum.
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