The casual surrealism of Schiaparelli SS25

While the rain pours down on the French capital, the world’s fashion hub for this week, the sky suddenly cleared yesterday around 7 pm as guests of the SS25 Schiaparelli show arrived one by one at Place Vendôme. Just steps away from the Ritz, an iconic fashion landmark where Coco Chanel spent much of her life and career, one of the most anticipated shows of the week came to life. The show, led by Daniel Roseberry, Schiaparelli’s creative director since 2019, spotlighted a central theme of fashion: women. In this tribute to the women who make his life and art more beautiful, the designer presented a casual tone accented with surrealism, offering a daily uniform for strong, independent women who need nothing more than jeans and a corset to instantly transform into fashion icons. There was no singular theme or narrative, aside from women, celebration, and freedom of expression, every day and in all situations.

The House, typically far from quiet luxury and not known for restraint, returned this time with a slightly different approach to dressing, one previously unfamiliar to us from Schiaparelli. Classic pieces like jeans and a white shirt were central to the show, presented in a soft, nonchalant version but still with a touch of eccentricity. The attention to detail and high craftsmanship characteristic of Roseberry’s work was of course present, but the surrealist touches so dear to Schiaparelli had taken a backseat to allow for a more approachable, less conceptual fashion, yet still carefully crafted. Embroidery was drastically reduced compared to usual, with the focus this time on textures, surfaces, and contrasts.

The show opened with the iconic hourglass silhouette, with the first two shirt dresses giving the models the appearance of Greek statues sculpted from marble. Next came Kendall Jenner, wearing what seemed at first to be a simple pair of jeans and a corset, but which actually fused into a single piece, embodying a modern femme fatale. Adriana Lima made her grand return to the runway in a reimagined white shirt dress, cut in avant-garde proportions. The accentuated waist silhouettes continued before giving way to pieces that varied greatly as the show progressed. From form-fitting dresses that accentuate the female figure, the show swiftly transitioned to a voluminous red coat, a turquoise summer ensemble paired with a scarf tied around the neck, and finally back to elegant evening gowns. Key elements of the Schiaparelli House, such as the signature lock and golden 3D embellishments, were still present. As for the accessories, the braid made its return, this time wrapped around the hand like a whip or tied around the neck as a makeshift tie. Regarding fabrics, everything was on display: denim, sheer fabrics, pearls, and sequins. 

And it’s precisely this mix of materials, styles, and colors in the collection that could pose a problem. While the emphasis on freedom and Roseberry’s unfettered creativity is commendable, the lack of a cohesive theme or continuity in the collection could be seen as a downside. The transition from oversized jackets that seem to swallow the models to outfits suited for a vacation in Saint-Tropez, and then back to a chic, even somewhat haughty aesthetic, felt disjointed. It seemed as though the models were all heading to different events, which may not necessarily be a good thing. However, the attention to the smallest details, the quality, and Roseberry's ability to transform everything he touches into haute couture elements should be applauded, as should the recognition of the women without whom none of this would be possible—from the client to the seamstress, the artisan, and the technician.