Daniel Roseberry kicked off Haute Couture Week, propelling Schiaparelli into a new era of modernity. The anticipation surrounding the brand is always high, thanks to its concepts that year after year offer a fresh perspective that, while true to its roots, remains innovative and full of learning.

With "Icarus," we embark on a journey back to the 1920s, to the ribbon-making workshops of Lyon. Daniel managed to acquire these materials to study their colors and, by learning from the haute couture of the time and couturiers like Madame Grès, Paul Poiret, and Yves Saint Laurent, he managed to inject a touch of baroque into modernity.

As is customary, the collection's richness lies in its silhouettes and the use of materials. Drawing on French corsetry and silhouettes from the 30s and 50s (like the famous A-line), Schiaparelli explores techniques such as glycerine baths for feathers, which were then combed with keratin to achieve a skin-like effect reminiscent of showgirls from that era.

This grand homage to modernity could not have been complete without references to Elsa Schiaparelli, such as dresses reminiscent of 1940s garments or pleated tulle halters adorned with the brand's signature anatomical emblems. For Roseberry, modernity is not limited to minimalist finishes. With "Icarus," the promise of feeling like you're in a dream is realized in dresses that are worthy of being remembered and preserved in museums.

The silhouettes in this collection reveal the intricate nature of French corsetry. The supports and structures are patterned to support each fall (whether it be tulle, satin, or silk) while simultaneously giving it the perfect shape, demonstrating that nothing is left to chance. Everything is constructed to perfection, worthy of being remembered and admired.