Danielle Rosebery has emerged as the undisputed king of red carpet dressing over the past year. In the span of three months alone, Schiaparelli’s artistic director dressed First Lady Jill Biden, Cardi B, Regina King, Lady Gaga and Adele.
Behind the scenes, he’s also building a solid ready-to-wear business for the historic home, which has felt painfully slow at times since its reopening in 2012 by Italian entrepreneur Diego Della Valle.
This season, the label showcased its most complete collection to date, which included everything from daywear to eveningwear in a palette of black, white, and gold. The lineup was rooted in strong tailoring, and beefed up with new versions of the denim and trompe-l’oeil knitwear with which Elsa Schiaparelli originally launched the brand in 1927.
Some of the items were drawings of body parts, padlocks, and measuring tapes that Roseberry made for tablecloths at a dinner party celebrating the opening of Schiaparelli’s first permanent shop in Bergdorf Goodman, New York City. With its historic salon on the Place Vendme in Paris, it is the only point of sale for the brand worldwide.
As the house prepares to expand distribution, and ahead of the opening of the Schiaparelli retrospective at the Musée des Arts Décoratifs in July, Roseberry is going to archives to improve the offerings. “It’s just about making things wearable and real, but strong at the same time. It’s really at service to the client this season,” he said.
The classic pinstriped suit and chic black cocktail dress contrast with Surrealist-inspired designs, such as a leather coatdress with pointed protrusions, and a curly cream shearling coat with a corset-shaped patent leather inset at the waist.
New variations were the cone-breasted denim jacket famously worn by Julia Fox during her short-lived romance with Ye. “You know it’s cool when the whole design team is asking to buy one or wear one,” commented Roseberry.
Meanwhile, Schiaparelli purists can treat themselves to an updated version of one of his most iconic designs, a coat from his 1938 “Zodiac” collection that sold for more than half a million euros at auction in Paris last year went. Roseberry’s version comes with white pockets instead of the original pink, and is used with Edward Scissorhands-style hand clippers.
Interest in archival designs is sure to increase after the opening of the Paris exhibition, which will focus on Schiaparelli’s life and his relationships with artists such as Man Rey and Salvador Dalí. Meanwhile, pop culture is firing cylinders in the house.
The large lunge pendant that Bella Hadid wore on her bare chest to the Cannes Film Festival has been reinterpreted as a pendant necklace that anyone can pull off. Roseberry says he is tired of being asked to define the Schiaparelli woman. Noticing the provocative attitude of the founder, he answered the question: “Who is not a Schiaparelli woman?”
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