Schiaparelli began the Week of the Haute Couture of Paris with a sensationally surreal collection that combined “Entre-Deux-Guerres” images with blunt futurism.
With Dua Lipa, Cardi B and the Brazilian star Anitta sitting in the front row inside the Penit Palais, Monday morning before the show was a heated hive of paparazzi activity, even while I was with rain outside.
In this autumn/winter collection 2025–26, the cost of the house, Daniel Roseberry, went back to the 30s, referring to the decision of the founder Elsa Schiaparelli of starting from her city adopted in Paris in 1940, just after World War II began.
Riffing in the archive of the house and the black and white photography of the 20s and 30s, the clothes went from steaming surrealism, like a small black dress that was essentially a well -adjusted riding chair, to a series of sexy killers. Some in dry black wool with file sheet motifs, others with faded gray felt, their shoulders ended with mini mounting chairs.
Mix transparent tulle and embroidered wool in dramatic nightlim coats or spicy suits and overcame many looks with excellent “qui êtes-vous, polly maggoo?” Pastilleo hats or cloches similar to Henry Moore.
Before going to Overdrive for the night, with more busts dresses and dresses in Lamé and Silver, Several presented skillfully ocular with open eyes. A large transparent sliding dress finished with jade accounts and the pearls had a bare back, the legs better to reveal the news.
A satén dress back to front in red, essentially the only other color in this black and white show, with a “heartbeat collar” hung on the back of the neck, on a pair of false tits.
Everything in juxtaposition to the soundtrack, a combination of “Sumone Great” by LCD Soundsystem and “Made to Stay” by Mount Kimbie.
“Returning to the future. This was definitely the most entrenched in the file I have been. Looking in black and white in Paris before the Germans invaded, and that twilight of glamor, bias dresses and what the Schiaparelli jacket was, like that.
There was less modification of the body than the appearance driven by the corset last season, with a much more liquid form for many dresses, sophisticated swans in Galuchat or sinful red satén.
In general, aesthetics was the diabolical of the Dalí era mixed with a certain raw sensuality, a rather brilliant way of starting the four -day Paris Haute Couture Week.
“I think we are in the precipice of an important change, and I am not only speaking geopolitically. So, in a strange way, this felt like a kind of swan song. I wanted it to be a farewell,” said Roseberry, who revealed that the house planned to restructure its entire workshop.
He called this exhibition the last one of a trilogy of collections: Phoenix, Icarus and, when Cardi B left the show with a black crow on his arm, the latter would probably be Aphrodite.
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