In a world that often mistakes minimalism for modernity, Schiaparelli’s Haute Couture Spring/Summer 2025 show was a dazzling rebellion – an ode to extravagance, artistry, and the audacity of fashion itself. We could not expect anything else since they started by sending out a gilded feather as an invitation, an element that recalls the theme of the collection as well as the aesthetic of the maison, renowned for its audacity and creativity. This is where Icarus finds just the perfect name for the collection.
The collection’s title refers to the Greek myth, the story of a tragic figure that always wants to fly higher but ultimately flies too close to the sun, paying a steep price. However, in the collection there weren’t any wings or suns. So, why Icarus? In Daniel Roseberry’s take, Icarus is not a story of a defeat, but rather an homage to a noble attempt. As Roseberry says “Every season can feel like a quixotic struggle a climb, to reach an ever-higher level of execution and vision. But we do it – I do it – for you”. Often used as a euphemism for someone who takes too much risk, it didn’t apply to Schiaparelli’s creative director as he proved that risk often brings big reward.
The collection draws inspiration from ribbons dating back to the 1920s and 1930s. Roseberry’s passion for antique stores led him to a small shop in the heart of France that stored these special pieces. In fact, before the War, most ribbons were produced in Lyon and then distributed all over the world. They immediately became the centrepieces of the collection, reimagining traditional couture codes with a provocative edge. Roseberry turned soft ribbon hues like saffron, butters, “toast” brown and faded peacock greens into bold silhouettes that disrupted tradition.
Roseberry embarked on a “time travel”, studying the techniques of legendary designers like Madame Grès, Charles Worth, Paul Poiret and Azzedine Alaïa. Some jackets cut to balloon-out at the hip, forming aerodynamic bustels – which Roseberry referred to as “S-shaped” to bring it back to Schiaparelli. These pieces, with their sculpted shapes, echo the influence of Mugler and other iconic designers. He openly cited these influences in his show notes, which is not a weakness but a testament to his knowledge and passion for the industry. One of his greatest talents is how he incorporates the influence of past designers and creates something new. Therefore, he can afford to be open with his references, given how thoroughly he transforms them.
The theme Icarus itself serves as an homage to Elsa Schiaparelli herself – a visionary risk-taker who revolutionized fashion by challenging conventional boundaries, as exemplified in her legendary collaboration with Salvatore Dalì. She reflected the emblem and duality of ambition: the pursuit of greatness and the related risks. As Roseberry put it, “I realized what I wanted to do: Create something that feels new because it’s old”. And that’s exactly what he achieved. It can be seen in the pleated halter-neck gown in tulle presented for this occasion in a soft sand color. Equally striking is the baby doll dress with an A-line silhouette – a classic shape from the 1950s – reimagined by lowering the line of the hips, which were dramatically padded to create a balanced contrast with the bust. The entire piece is rendered from thick, lustrous satin fabric that’s been adorned with Schiaparelli’s house codes (the keyhole, the dove, anatomy), all quivering with thousands of smoked quartz droplets.
Schiaparelli’s structured, pre-war jackets were reinterpreted with a more elongated silhouette, pairing them with minimalist, 1990s-inspired floor-length column skirts in double satin. This way they were able to achieve a seamless fusion of tradition and innovation.
This show further pushed his vision towards a different aesthetic, expanding Schiaparelli’s identity and our perception of Roseberry’s talent. As the luxury industry struggles with its worst crisis in 15 years – with many designers embracing minimalism as an antidote to overstuffed wardrobes – Daniel Roseberry chose a different path. He declared “I’m so tired of everyone constantly equating modernity with simplicity: can’t the new also be worked, be baroque, be extravagant? Has our fixation on what looks or feels modern become a limitation? Has it cost us our imagination?”. With these concepts in mind, he unveiled a couture collection that centred his limitless imagination. He toyed with extreme volumes – jackets with low orbital necklines exposing brassières, exploding bustle back and impossibly small waistlines. He played with colors, forms and techniques, creating pieces that felt both fantastical and elegant. For example, the minidress constructed from strands of pearl and pleated gold column gown that appeared to be in constant motion. Feathers, usually seen as light and delicate, were transformed into bold and sculptural elements, while corsets, historically linked to elegance and restraint, were adorned with playful resin rosettes, a material more commonly found in industrial design. This unconventional detail challenged the traditional solemnity of couture.
The designer titled the collection “Icarus” not as a cautionary tale but as a tribute to the transporting power of haute couture. “It’s the promise of escape … that’s what couture can offer its audience and its clients: it’s the promise of just 15 minutes of a suspended reality”, said Roseberry. And that is exactly what he accomplished. In the Petit Palais, for those 15 minutes, reality was suspended, and in its place fashion reached new heights. Rather than a cautionary tale, “Icarus” became a declaration: couture is meant to fly.
