Within the framework of the celebrations of this Paris Fashion
Week , organized by the Fédération de la Haute Couture et de la Mode (FHCM) on
the French capital between the days of September 27 until this Tuesday, October
5, it had The presentation of the latest collection of the Schiaparelli house
of its feminine ready-to-wear line took place yesterday. A proposal designed by
the creative director of the house, the American designer Daniel Roseberry,
which the French House was in charge of unveiling throughout a digital parade
organized as a fashion film that could be followed through both the official
channels of the fashion house as well as the FHCM's own platform.
Returning once again to use the constant inspiration that
the legacy, the history and the figure of an always magnetic Elsa Schiaparelli,
founder of the house, awakens in an exercise of evolution of the values of the
fashion firm, Roseberry leaves behind the surrealist legacy of the Maison's
founding stage, to move towards a new "Lynchenian" period. A stage
influenced by the imaginative and disruptive universes of the filmmaker David
Lynch, whose avant-garde vision of cinema puts Roseberry in dialogue in this
proposal together with the inherent creativity that the Italian designer always
knew how to show off. Who throughout her long career would come to be known as
the highest representative par excellence of French Haute Couture,
"This season, as always, I have thought about the woman
behind this Maison: Elsa Schiaparelli, who gave this house not only her name,
but her identity," Daniel Roseberry himself explained in a statement.
"The term 'psycho chic' may not have existed in Elsa's time, nor does it
now," and "yet it's the way I always explain her vision to
myself." That of "a woman fascinated by the dawn of the technological
age, by advances in fabrics and engineering, by the avant-garde in cinema and
art." "She was a supporter of the arts, and an illustrator
herself," notes Roseberry, "but she was also a type of scientist,
someone who celebrated innovation and progress of all kinds," be it the
"creative, social ”Or“ cultural ”
A dual collection that navigates between the surreal
heritage of the house and a new "Lynchinian" air.
Placing her attention and trying to deepen in the magnitude
of her figure, Roseberry presents on this occasion a dual collection with which
she tries to approach, on the one hand, the image of that Elsa Schiaparelli
designer and icon of French Haute Couture of the decades from the 30s and 40s,
and on the other to that of that other Schiaparelli away from the spotlight.
Two faces of the same woman, who has sought to reflect on the one hand in the
"Elsa of the city", and on the other in that of that other "Elsa
on vacation" that have served to articulate the collection.
Who was she at home, or on vacation? Who was she when she got
off the stage, when she was alone, away from bright and glittering Paris?
”Roseberry wondered. Two questions that led him to pose the question of
"what does the Schiaparelli woman wear when she is not, to use a term much
loved by dragons, serving?".
In response, in terms of design, Roseberry presents an Elsa
Schiaparelli in an urban environment in which the house's own codes born of her
taste for surrealism are once again present. A set of pieces adorned with
elements so typical of its current creative language such as those decorated
necklines, body lines that move from their place and are exaggerated, or with
surreal jewelry that does not hesitate to jump to the garments themselves,
giving shape to closures in the form of padlocks, chains and rich embroidery.
Faced with this more restrained option, Roseberry introduces
us to this other Elsa “on vacation”, arranged with a wardrobe, not so much as
“vacation clothes” designed for “a physical destination, but also for a state
of mind”. "They are pieces for a literal escape, but also for an escape
from reality, a wardrobe for a Lynchian landscape, where the imagination can
roam without limits," explains the designer. "For this state of being
and mind," he points out, "there are fancy swimsuits, like a multicolored
striped knit bodysuit made of dry-hand mercerized cotton"; "A flowing
black silk dress, which appears to have been placed directly on its
wearer"; or “a belted caftan made of tropical silk viscose, whose red and
white stripes are reminiscent of the iconic beach umbrellas that, in summer,
"The silhouettes are simple, but the spirit of the
house", with "its daring, its hatred of the banal and enough",
"remains intact", synthesizes the designer. Who, ending by answering
his own questions, summarizes that the image of this Elsa Schiaparelli that she
presents us with this dual collection, is the image of a “refined but daring
woman. Elegant, but a bit vulgar. Conservative, but uninhibited. Tailored cut,
but also relaxed. Discreet, but also performative ”. “These dualities”, he
adds, “were what made Elsa who she was, but they are also what make each woman
who wears Schiaparelli who she is. It is irreducible and therefore inimitable.
She remains who she is, even when no one sees her. "
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