Paris Fashion Week: Schiaparelli Spring/Summer 2022 Haute Couture

Schiaparelli opened Paris Fashion Week with its Spring/Summer 2022 Haute Couture collection. Designed by Daniel Roseberry the collection is the epitome of feminine elegance and celebrates the finest in couturier.

Schiaparelli

Titled “The Age of Discipline” this collection was the Maison’s first return to a physical show since the beginning of the pandemic.

Schiaparelli

Roseberry wrote in the show notes; “after two years of thinking about the Surreal, I found myself instead thinking about the empyreal: The heavens as a place to escape from the chaos of our planet, but also the home of a mythical high priestess, at once goddess and alien, who might in fact walk among us.”

And that he did. This collection allowed us to dream once again. “I imagined a being whose very clothes defied rules of gravity”. He continued.

Schiaparelli

The collection combined razor-sharp tailoring with nipped in waits and oversized “dove” collars. Short cream duckbill-backed jackets were embroidered with vintage Schiaparelli palm trees.

Neat shorts are trimmed in ecru silk faille, beige satin waist cinchers, aerodynamic bustiers with cream satin sashes, and fountains of black crin that trembled and bounced in movement.

Schiaparelli

A long tailcoat in satin back faille is embroidered with a vintage Schiaparelli motif – the Apollo Fountain of Versailles.

And finally, after the rigour of tailoring and exhausting a new, sharper silhouette, the Schiaparelli woman embraces her inner Folly – giving way to fountains of gold, black plumage, creepy crawlies in cabochons, and a crystal cocktail dress like the inside of a jewellery box.

Schiaparelli

A colour palette of black and gold is elegant and commanding. The new Schiaparelli gold is a perfected shade that’s neither brassy nor rose and has been specially formulated for the house using pieces of 24K gold leaf.

“Designing this collection also made me realize something else. There are designers who design because they love clothes.” Concluded Roseberry.

“There are designers who make clothes because they love the craft, because they love people. There are designers whose work is indebted to fashion as a concept, or to glamour as a business. But I design in order to make people feel something. When clothes and craft and hair and music and the wearer are in harmony together, when they are all trying to communicate something, we can be reminded why we love fashion— why I love fashion. It isn’t for the celebrities. It isn’t for the likes. It isn’t for the reviews. It’s because, when it’s done right, when it has something to tell us, it can help us feel the inarticulable. It’s because it still has the power to move us.”