The Luxury of the Third Millennium

Schiaparelli, the first ready-to-wear fashion show in Paris.

Daniel Roseberry, creative director of the Schiaparelli maison, launches the challenge of the brand’s first ready-to-wear show.

The collection maintains many references to what Roseberry has already done in these three years at the helm of the fashion house, adding others, referring to the historical codes of the Parisian couturiers: the golden buttons in the shape of a keyhole, the embroidery of the measuring tape, the detail of the bra cone, bustier tops combined with denim jackets, but also extravagant hand-painted designs.


I would like to take ready-to-wear to a different level than haute couture

said Roseberry before the show.

An apt intuition, that of the American designer, given that Elsa Schiaparelli herself was born as a designer of black pullovers decorated with white trompe-l’oeil designs, handmade by an Armenian woman, Aroosiag Mikaëlian known as Mike, who had a small workshop craftsman with his brother and other knitters.

An idea that earned Elsa a lot of money, thanks to the acquisition by the Strauss warehouses in the United States, which decreed the expansion of her atelier, to then debut with her first Schiaparelli Pour Le Sport collection, where the first sweaters appeared tattoo, pullovers with reproductions of human bones and numerous accessories.

The collection presented by Roseberry aims to define a change of course where the word simplification creates an aesthetic language and an unprecedented image of the maison. Thinking that perhaps the everyday life of dressing, even in luxury, must be practical and compatible with the new life dated Third Millennium.



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