In July, an exhibition of Elsa Schiaparelli’s work will open at the Musée des Arts Décoratifs. With the Giacometti and Dalí usually on display in the house’s Place Vendôme salons on loan for that museum installation, Daniel Roseberry did something radical today. He vacuum sealed the salons’ walls in gold. As a symbol it reflected how he’s turned this label upside-down and inside-out since putting on his first Schiaparelli couture show in July 2019. From Lady Gaga at the Inauguration to Bella Hadid in Cannes, this isn’t the sleepy maison it once was.
The shocking symbols Roseberry has made his own here were in evidence—gold nipple buttons and belt buckles and moulded leather torso bags included. Nonetheless, this was his most relatable collection so far, rooted in denim embroidered with the illustrations he did for the tablecloths at a Bergdorf Goodman dinner last fall, and knits that included riffs on Schiap’s famous trompe l’oeil intarsias.
Roseberry pointed out that ready-to-wear came first for Schiaparelli and couture only after she’d achieved some level of success. As synonymous as she is with surrealism, the woman had a pragmatic streak. No one would mistake Roseberry for a maker of basics, but there’s an American honesty to the jeans here with their double S’s on the back pockets, and to stretch velvet and stretch leather pieces that take their shapes from athletic wear. As a native of Dallas, Roseberry grew up in and around these kinds of clothes. Likewise, he connects with the energetic, American vibe of Herb Ritts’s photos, which certain images in this lookbook were designed to reflect.
But he’s just as fluent in kinky Parisian excess. As the embellished cone bras make clear, he relishes it. The plan is to take this collection on an extended American trunk show. We’d love to be in the room when he brings out the Edward Scissorhands gloves and the patent leather gimp masks.
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