Schiaparelli’s Spring/Summer 2025 Haute Couture collection, titled Icarus, opened Paris Couture Week with a magnificent display of innovation and craftsmanship that left the fashion world in awe. Inspired by the Greek myth of Icarus, whose tragic flight towards the sun symbolises the dangers of ambition, creative director Daniel Roseberry’s latest offering embraces both risk and reward. Far from a cautionary tale, Icarus embodies Roseberry’s own “quest for perfection” in haute couture, challenging modern ideas of simplicity by leaning into opulence, extravagance, and dramatic silhouette construction.

Roseberry’s collection asks a provocative question: Can modern fashion be baroque, extravagant, and layered, or is minimalism the only way forward? With this, he set out to reshape the idea of modernity by fusing the past with the future. His vision was clear: to create couture that feels new, despite drawing on the lessons of legendary designers such as Yves Saint Laurent, Charles Frederick Worth, and Azzedine Alaïa. The result was a stunning mix of antique influences and futuristic forms, with exaggerated hourglass shapes and structures that seemed to defy the laws of fashion.

The collection’s focus on sculptural, almost architectural silhouettes was undeniable. Corseted dresses, voluminous hips, and exaggerated peplums were framed by crinoline-like structures that flared dramatically as the models moved. This sense of grandeur and high fashion was further amplified by the use of metallic fabrics, antique-inspired ribbons, and intricate pleating that evoked the craftsmanship of fashion’s golden ages.

At the heart of Icarus was a celebration of complex construction and embellishment. Models strutted down the runway in couture creations that embodied Roseberry’s vision of maximalism—rich fabrics of tulle, silk, and lace glimmered under the lights in a colour palette of muted nudes, dusty greens, and saffron browns. This was a world of sculptural garments where the exaggerated waistlines and dramatic trains seemed to reach for the heavens themselves, perfectly capturing the ambition of Icarus.

Signature pieces, such as Kendall Jenner’s heavily boned corset dress in pearl grey satin, made an unforgettable impact. The dress, with its sculpted train, perfectly balanced elegance with the boldness of couture’s tradition. Meanwhile, Mona Tougaard’s look seemed to transcend the runway entirely, with a look described as art-like and mesmerising. The main topic of conversation was Tougaard’s look, with many questioning where her waist had gone, and some even going so far as to suggest that it should be Zendaya’s next red-carpet look. Also notable was Alex Consani’s opera coat, a sensual creation adorned with feathers and designed to be worn off the shoulder, creating an elegant yet seductive silhouette.

Throughout the show, Schiaparelli’s hallmark craftsmanship was evident, from the intricate corsetry to the visible and invisible padding that created “impossible” silhouettes. The attention to detail was extraordinary, with pearls, beads, jacquard, and velvet forming a rich tapestry of textures that adorned each piece.

Models like Kendall Jenner and Mona Tougaard stood out not only for their physical presence but for how they embodied the spirit of Schiaparelli with grace and strength. Their runway moments were a testament to the power of couture and the remarkable vision behind it.

The Icarus show attracted a dazzling array of celebrity guests, seen in full Schiaparelli, adding an extra layer of excitement to the event. Carla Bruni, Kelly Rutherford, Philippine Leroy-Beaulieu, Gabrielle Union, Anna Wintour and Regina King were just a few of the notable figures in attendance. Their presence underscored the collection’s significance, and their reactions spoke volumes about the impact of Roseberry’s work.

As luxury fashion faces a downturn, many designers are embracing minimalism to appeal to more practical and understated tastes. However, Daniel Roseberry’s Icarus is a bold rejection of this trend. Instead of toning down the glamour, he embraced maximalism, creating garments that feel like an escape from the ordinary. His commitment to intricate details, opulent textures, and dramatic shapes proves that haute couture is not merely about fashion—it’s about fantasy, escapism, and pushing boundaries.

For Roseberry, haute couture is not just about creating beautiful clothes; it’s about challenging expectations and reaching new heights. “How high can we couturiers go?” he asks. “As high as the sun—and the Gods—allow us.” With Icarus, he has done just that, proving that risk, when executed with skill and imagination, can yield extraordinary results.

Since taking the helm at Schiaparelli in 2019, Daniel Roseberry has redefined what it means to design for the modern woman. With Icarus, he continues to elevate the legacy of the house, balancing its rich heritage with a forward-thinking vision. His dedication to haute couture as an art form, rich in history, beauty, and innovation, cements his position at the forefront of contemporary fashion. Icarus is not just a collection; it’s a statement of what can be achieved when ambition and creativity reach for the sky.

Words by Claire Gaura 

The post Sculpting Fashion: Schiaparelli’s Spring Summer 2025 Haute Couture Show appeared first on Voir Fashion.

An argument in favour of the everpresent is-couture-art-or-not debate has always been Schiaparelli’s otherworldly designs. And this boundary-bending, dramatic 2023 collection has proven to be another winning point for the affirming side.

How could it not be, with each of the thirty looks inspired by avant-garde artists?

The appropriately named ‘And The Artists’ collection was filled with artistic references from different schools and eras that, although not inherently connected, flowed together seamlessly because of their shared values: the craftsmanship and sense of wonder that characterizes the fashion house.

After the past few streamlined collections we’ve seen from Roseberry, this decision to reinterpret the maison’s codes in a maximalist way was a refreshing excitement.

“The last season was so reduced, I really wanted the focus to be on techniques, color, and the privilege of being able to create couture,” he declared backstage. “It’s been about going to artists that she [Elsa Schiaparelli] collaborated with, but also artists that I’ve been inspired by—there’s a whole cacophony of references in there.”

One model wore a broken-mirror cardigan and skirt set referencing sculptor Jack Whitten’s mirrored mosaics, while wooden mannequin arms and necklaces were a nod to Alberto Giacometti. Another model was hand painted in brushstrokes reminiscent of Lucian Freud, and a faux fur coat imitated the palm fronds from Matisse’s studio. Yves Klein’s signature cobalt blue was a constant sight, covering everything from lapped mini skirts to models’ skin. With nods to Jack Whitten, Sarah Lucas, Salvador Dalí, and Joan Miró, the show proved that Roseberry’s Schiaparelli deserves that place next to these artists’ work in a museum.

The female anatomy wasn’t overshadowed by the collection’s artistry, either, with gilded ears in beaded clasps and peep-toed pumps keeping the trend alive. Since his arrival, Roseberry’s focus on feminine silhouettes and craft-like accessories has thrown the fashion house into the spotlight that Elsa Schiaparelli always wanted it to occupy. It is this commercial success that allowed him to break free from the head-to-toe formulas that the founder frequented, opting instead to find freedom in separates. Elsa’s own granddaughter, Vittoria Marisa Schiaparelli Berenson, seemed to approve from her seat on the front row.

“These are pieces a woman can assemble however she wants,” Roseberry wrote in the presentation’s notes. “Most of the ‘looks’ you see here were put together in the days leading up to this show. This approach felt like a Surrealist’s interpretation of a woman’s essential closet.”

He wanted to create ‘an impossible wardrobe’– and it’s safe to say he succeeded. The show was contrasted by modernized classic shapes like beaded silver shawls and physics-defying little black dresses that promise many viral red-carpet moments in our future. Cardi B, Tracee Ellis Ross, Gwendoline Christie, Chiara Ferragni, and Emily in Paris‘ Philippine Leroy-Beaulieu were on the front row, so we won’t be surprised if they’re among the celebrities donning some of these looks hereafter.

When thinking of Schiaparelli, one can’t help but think of fine art, divine craftsmanship, and surrealism. So Roseberry’s embrace of this connection to create a couture collection is just what the brand needed after all the negativity from last season. The ‘And The Artists’ show hasn’t just redeemed the house– it has also put to bed any doubt that couture isn’t an art form.

_{Words by Alexia De Las Heras}

^{Header Image By @Schiaparelli Instagram}

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“A collection that is as emotionally unbridled as falling in love. A tribute to romance, to excess, to dreams. Is there anything more urgent today than to dream big? To dream of a better world? To grab every piece of beauty with both hands?” Roseberry has ruled. And it is thanks to the collection’s intoxication of euphoria that the Haute Couture Fall-Winter 2021 fills our hearts, a lost beauty that is needed more than ever and that our eyes seem to drink greedily.

Guiding the inspiration of the designer is the constant desire to update the past without being nostalgic: as fundamental as the respect for its heritage, it must not become constrictive and limiting, but instead offer a basic imaginary on which to build a new aesthetic. With the Matador collection, Roseberry evokes the extreme silhouettes of Madame Elsa, the perfect colours of Christian Lacroix, takes inspiration from the art of Ingres (especially his notorious fluidity in painting the smooth curves of the body). There’s even some Manet and his talent in representing human truths. And what is truer today than an urgent need to be amazed?

Three are the chapters in which the creative director articulates his narrative. The first is a tribute to the tailoring of the Maison and the skill of Elsa Schiaparelli in building jackets. The structure is oversized and majestic, with large barrel sleeves and slender busts, where the combination of cut and decoration reaches an absolute balance. Denim replaces classic wool, and vintage remnants from the archives are assembled to build a garment that condenses past and present, with metallic breasts and black tassels that play on a concept of nudity and enhancement of the body. A hint of the gluteus is shown and an uncovered back in lamé leather decorates the derrière. There is also Jean Cocteau, who appears in the creation of black crepe wool with curved sleeves, a flower of embroidery of Lesage silk roses in a shell that resembles a jacket made for Schiaparelli in 1937.

_{^{(left) Jean Cocteau’s Schiaparelli Coat, (right) Schiaparelli AW21}}

The story continues with a focus on jewels and their interpretation of the continuation of the body. The jewel is not added, it is not intended as an accessory, but is an extension of the physicality. A golden rosette eludes the classic bustier to propose a different vision of femininity, where the nipple is a bud. Emblematic is the filigree collier that branches off into the capillaries of the lungs, as if it were a celebration of our breath that was so endangered during these last two years of pandemic. The nose and belly, lips and ears are cast in gold or made of ceramic, the bijoux become embroidery and minaudiere, occupying and conquering a new space in which the body can expand.

It concludes with the chapter dedicated to colour. A black dogmatic colour counterbalances the vibrancy of the salmon pink and cornflower, with orange terracotta, lunar silver, a crisp Renaissance blue and milky white set as primary shades of the brand. Each tone is carefully decided and never mentioned, there is no trace of nuance but the color itself, which is clear and absolute, does not mix or blend with others, limiting the variety in favour of a chromatic precision that enhances every single shade of the collection.

In a press release to coincide with the launch of the collection, Roseberry said the following, ‘Here’s what I want: No more cookie-cutter fashion. No more pieces that look like they could have been made by anyone. No more cynicism. No more irony. No more timidity. No more coolness. Give me more beauty, more earnestness, more romance, more effort. I hope this collection reminds everyone who encounters it of the sheer delight that fashion can bring us in hard times, and with it, the promise of more joy when the clouds part. Give me more fashion. Give me more hope.’

The Schiaparelli Haute Couture Fall-Winter 2021 collection is this and much more. The long-awaited return to a world of fashion that puts creation and originality above all, it’s extroverted, loud, and it’s imagination is not constrained, and the aesthetics have a right to exist even just for aesthetic purposes, cultivating a lust that restores us from a famine of beauty.

Words By Tommaso Donati, Graphic By Millie Pollok

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