Art and fashion? A combination well known to the wider public, but which still clashes in dealing with everyday life, which prefers form and function to cutting and creation, that is, that combination on which Couture still feeds today. A question, on the possibility of meeting between the two, which, for Schiaparelli, finds the time of a show, debuting in Paris with his first pret-a-porter FW23 collection, in an astral mythology made into a dress for immediate use.
Very little, apparently, is noticed different from the previous purely Couture collections of the maison which still combines the surrealism of the founder with contemporary realism, but approaching and entering the FW23 a surprising change is denoted. From a fluid cut to total black, alternating with thousands of golden accessories, the Schiaparelli FW23 by Daniel Roseberry takes up its symbols and myths, and in this first act simply reconfirms the imagery of the maison, but stripping it of that heaviness of elitism couturial.
The designer reveals: ”I would like to take prêt-à-porter to a different level from that of Haute Couture, without giving it up. I would like to bring the world of Schiaparelli closer to the everyday one”.
A considerable feat if we retrace the history of the maison, which since its inception made known its intention to “artisticize” everything that surrounds man in everyday life, giving it a playful as well as conceptual note. But ”the concept is not lost, it is updated”, explains Roseberry in this regard, who since her arrival in 2019 has always outlined an ongoing path for Schiaparelli, without getting lost in the historical walls of the archive, but on the contrary creating a contrast between before and after, and this latest FW23 is proof of this.
The denim jackets are reduced in size, the tailored trousers accompany black leather boots with golden inserts, and the bag ranges in shapes and sizes, while always responding to the law of utilitarysm. The last category, the bag, that is the symbol of this change, explains Roseberry, who presents the new ”Schiap” for the FW23. Already from the name it recalls an abbreviation close to the language of the new generations, which translates the immediacy of its pronunciation into the reduced dimensions of a striped bag in embossed leather, with the logo in the shape of a slit placed at the closure of the model. Nostalgic? No, we would say more practical, because it is no mean feat to lighten a repertoire, such as the Surrealist one, of applications and processes. And if in the meantime the big buyers wonder if there is a market ”at the crossroads” between Crouture and prêt-à-porter for all of this, the creative director and the maison continue on the path of the possible, as the fearless did in 1927 founder when she created the Trompe L’Oeill shirt: symbol of the rise of the maison.
Thus the mythology that revived Daniel Roseberry’s Schiaparelli does not disappear in the pret-a-porter, but is contaminated by the modern fairy tale, the one that is renewed daily, and which sees the woman as the protagonist of ready-to-wear narratives.
You might also like
More from Brands & Designers
The 60s in the co-lab “La Vacanza” by Donatella Versace and Dua Lipa
Donatella Versace and Dua Lipa together for Pre Fall 23 to celebrate the Italian summer. The co-lab between fashion and music brings cocktail dresses to the poolside. Fashion and music converge in Cannes, where the Versace Maison decided to present
Fashion and design: an open dialogue
From the very early 60s, the artistic dimension that followed the economic, artistic and scientific renaissance saw fashion as the protagonist of a change that left the common areas to enter the private and intimate spaces of the house. A
The journey home of Burberry in the first campaign by Daniel Lee
A few days after the debut of Burberry‘s new creative direction entrusted to the Englishman Daniel Lee, the brand releases its first campaign, with archive clothes, directed by the creative himself with a reinterpretation of the brand’s codes. Far from
