While many are wowed by Schiaparelli‘s Daniel Roseberry and his “surrealist” jewellery boom, first check Samuel François‘ stunning works. The French stylist – who is also the fashion director of Numéro magazine – takes the jewellery medium to another reality. “It’s really just something I began for myself in a very empirical way,” he told Vogue back in 2018. The idea sort of crystallized, he explained, when he bought an Afghan ram’s-head bracelet while on vacation in Thailand. Once back home in Paris, a try at sculpting soon resulted in bronze and enamel jewelry. Not that jewelry was entirely new to him: he had worked on runway pieces for Martine Sitbon and other designers in the past, but it was the first time he had taken up a hobby just for himself. “I love styling, but we live at a frenetic pace,” he said. “I didn’t want to miss a chance to do something more personal and whimsical. I guess it’s kind of my way of showing that I can do something besides putting clothes together nicely.” François describes his aesthetic as a cross-pollination of his love for fashion and a passion for the city of Naples, with its jumble of antiquity and mythology and one destination in particular, Nathalie de Saint Phalle’s boutique hotel, the Albergo del Purgatori. The statement earrings, bracelets, and plate necklaces feature enamel surrealist teary-eyed motifs and macabre skulls, as well as gilded leaves and mouths molded from goldened bronze. For more of his works, check out Samuel’s website!
Daniel Roseberry has already proven that he’s a genius haute couture designer. With his autumn-winter 2021 collection for Schiaparelli, he also confirms he knows how to make ready-to-wear a ‘wow’ moment. “I really like the freedom in which Schiap explored things,” Roseberry told Vogue over Zoom. “You know, while Chanel was making buttons made out of double C’s and it was very much an exercise in branding, Schiap’s buttons were peanuts and wrenches and hammers and birds and insects. It’s kind of this referential gymnastics that I feel like we can have here, as long as it feels like part of one world and one language. People know they can go other places for more polite designs.” If Roseberry has more freedom than his creative director predecessors that’s largely down to the fact that Lady Gaga wore his designs at the U.S. inauguration. Overnight, as he put it in the days afterward, Roseberry had a place in fashion history, and the label itself had a new international relevance and cachet. The dove brooch (it reminds the pieces Yves Saint Laurent sent down the runway in his spring-summer 1988 couture collection) that Lady Gaga wore to the inauguration has become a visual trope; it perches on the shoulder of a fitted black minidress among several other surreal bijoux and its outline is painted in black on a white button-down. Instant Insta-favourites are of course all the “body-ornaments”: the breasts and pierced nipples, ears, eyes, noses, and lips – all of it has been cast in gold, moulded in leather, or quilted in wool crepe. “I don’t want to be precious about any part of the body; you know, it’s about kind of celebrating the whole thing,” he said. But Roseberry is no doubt well aware that breasts are a cultural flashpoint. Exploiting that flashpoint, he managed to render all the other designers playing with lingerie and kink this season look tame. The fashion industry urgently needs a provocateur, and Daniel is the ultimate answer.
In a pretty short time, Daniel Roseberry has pushed Schiaparelli – a haute couture maison – forward to an extent in which its ready-to-wear line finally makes sense. Roseberry’s flair for the fantastic absolutely works with Elsa Schiaparelli’s aesthetic, and in the spring-summer 2021 line-up he manages to negotiate the balance between the Surrealism that was the legendary designer’s signature and the everyday. Speaking over Zoom, he said he approached the new collection with “a renewed energy to focus on what I want to say here, to capture the irony and what Schiap was about. Her legacy still lives really large, and it feels really true to this moment.” The pandemic has upended fashion. Some designers and brands are sitting this season out or playing it extra safe, counting on pajama sets and tracksuits to carry them through. Not Roseberry. In the look book photos he took himself (it’s interesting that many designers choose to photograph their collections), and in the behind-the-scenes video the brand produced, that extroversion comes across most distinctly in Roseberry’s fabulous gilded jewellery: eyeglasses with enamel eyes in the center, masks that cover nose and mouth, fingertip talons, and even nipple buttons. Those little and big, wearable artworks took Instagram by storm. The clothes are nearly as provocative. See: the white button-down with hand-painted breasts on the front, the odalisque prints on a shocking pink and white pantsuit (studies of Manet and Degas that Roseberry did himself), and the broderie anglaise with Surrealist faces picked out. There’s also a pair of minidresses, one ivory, the other black, with big inverted volumes. Roseberry took no half measures with this collection, and in this time of uncertainty and anxiety, that kind of conviction is a real turn-on – something we’ve experienced as well at Jonathan Anderson’s extraordinary Loewe.
The young generation of Paris-based designers, like Demna Gvasalia or Glenn Martens, look towards night life, clubbing and this defiant, booze-fuelled attitude. But Simon Porte Jacquemus‘ namesake label approaches fashion in a different way – rather than seeing hoodies and dilapidated denim, Jacquemus is much more innocent and… happy. And as smily as the Southern French people, contrasting with rushing Parisians. That’s why Simon took his autumn-winter 2016 pieces near his hometown, between Marseille and Avignon, and with help of photographer Theresa Marx, created the e-campaign for his brilliant on-line store. The photographs present arty coats, skirts and knits, all in bold colours and styled in the most unpredictable ways.
“The collection is about reconstruction, when you have a lot of different clothes from a lot of different people, and you put them all together and you create something new. Like an art shirt mixed with a t-shirt. I wanted these images to have something to do with the idea of a washing line. I’ve loved washing lines since my childhood, so I wanted to do something like this.” Washing lines play a significant role in Jacquemus’ campaign this season. Being a boy coming from the South of France, he’s childhood was filled with washing lines everywhere on the streets and gardens… but in Simon’s world, they aren’t cliche.
Delfina Delettrez presented her new collection Never Too Light few days ago in Paris. The collection is not really bringing anything new into Delfina’s selection- the rings and necklace seem to be all the same with these eyes and crystals, but now are in more bronze colours. The queen of surrealistic jewellery is keeping it classy and elegant, so I love it! The presentation happened in a pretty innovative way- the plates on which the pieces where lying were rotating around, and looked all so light and beautiful! Delfina Delettrez SS14 is surely one of the coolest jewellery collections of the season!