Schiaparelli‘s very couture-ish prêt-à-porter goes runway. “The higher you go in the stratosphere of luxury, the more basic it feels,” Daniel Roseberry, the brand’s creative director, declared. The collection retained many of the signatures Roseberry has established in his first three years at the house, some inspired by Schiap’s codes and some by those of other Paris couturiers: the gold buttons in the shape of keyholes and body parts, the measuring tape embroidery, the cone bra detailing inset into everything from bustier tops to jean jackets. Roseberry’s own whimsical drawings were hand-painted onto nipped waist boiled coats. The places-to-go sensibility remained as well, but no-one is wearing Schiap leggings to a hot yoga class, or doing the school run in the dark-rinse denim sets. The parkas aren’t hitting the slopes. These were lunch date, cocktails, and stepping out of the car and into the five-star hotel with the paparazzi hot on your tail clothes. Where it differed from the couture most significantly was in the fabrications. The jersey dresses, one with a keyhole on the chest and the other with miniature gold buttons marching up the torso, had an appealing ease; Roseberry called the stretch velvet of a brown halterneck dress a celebrity secret weapon: “it drinks the light.” Chic!

Collage by Edward Kanarecki.
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