Schiaparelli’s Haute Couture Spring Summer 2025 collection unfolded in Paris as an ode to lost craftsmanship, reimagined for modern opulence.

The American born head of the Maison, Daniel Roseberry transported the audience through time, drawing inspiration from forgotten Lyonnaise ribbons of the 1920s and 1930s, unearthed like relics of a bygone era.

“I realized what I wanted to do: Create something that feels new because it is old,” he mused, challenging the notion that modernity must always be equated with minimalism.

The collection pulsed with baroque extravagance, each silhouette whispering tales of couturiers past, Madame Grès’ sculptural pleats, the sensuality of Poiret’s draping, and Alaïa’s uncompromising mastery of form were all referenced.

Schiaparelli Haute Couture Spring Summer 2025

A symphony of texture and technique played out on the runway. Liquid georgette, painstakingly embroidered with Japanese bugle beads, cascaded over corseted hip blades, evoking the slinky curves of Art Deco. Roseberry’s dialogue between past and present extended to tailored jackets, severe shouldered, Schiaparelli inspired structures, now elongated and softened by the languid ease of bias cut satin skirts.

Feathers, bathed in glycerin and brushed with keratin, swayed with an almost surreal weight, a nod to the 1930s when such effects were achieved with monkey fur. A doll like A line dress, with padded hips mirroring its bust, shimmered in lustrous satin cuir, trembling under thousands of smoked quartz droplets, each hand stitched with reverence. The images do the wearable art no justice, and I do suggest you watch the video and the behind the scenes snippets of the craftmanship on social media.

A symphony of texture and technique played out on the runway. Liquid georgette, painstakingly embroidered with Japanese bugle beads, cascaded over corseted hip blades, evoking the slinky curves of Art Deco. Roseberry’s dialogue between past and present extended to tailored jackets, severe shouldered, Schiaparelli inspired structures, now elongated and softened by the languid ease of bias cut satin skirts.

Feathers, bathed in glycerin and brushed with keratin, swayed with an almost surreal weight, a nod to the 1930s when such effects were achieved with monkey fur. A doll like A line dress, with padded hips mirroring its bust, shimmered in lustrous satin cuir, trembling under thousands of smoked quartz droplets, each hand stitched with reverence.

Beyond the garments, the collection stood as a testament to the painstaking pursuit of perfection that defines Haute Couture. “You make Haute Couture for love, of course. You also, however, do it for duty,” Roseberry declared, embracing his role as the custodian of a revived Maison. Accessories, tiny, jewel like marvels, were encrusted with matador cording and resin rosettes, amplifying the almost ecclesiastical devotion poured into each piece. In this season’s Schiaparelli, couture was not simply an art form but an incantation, a reaching toward the divine. “How high can we couturiers go?” he asked. “As high as the gods will allow.“

Discover more at schiaparelli.com

by Amanda Johnstone
Images: Supplied by Schiaparelli