They say disobedience is learned, and Schiaparelli knows this very well. Over the years, we have become spectators of a narrative that is read, felt, and perceived as unique. It might be coincidence, or a beautiful divine game, that Roseberry and Elsa have so much in common, and that in the presentation of their ready-to-wear collection at Paris Fashion Week Fall/Winter 2025-26, this tribute to their roots is an interpretation full of admiration, as if it were a modernization.

Elsa Schiaparelli was the first to categorize fashion as art. Through movements like Cubism and Expressionism, she was able to create garments that not only fulfilled the function of flattering the figure but also exalting it. Taking as a reference the ornaments within the coats, jackets, dresses, and skirt-pants of the founder, Daniel Roseberry managed to reinterpret the most significant details, moving into modernity with the use of textiles like leather and pleated and quilted fabrics.

The sculptural finishes in gold and the decoration made with fragments of mirrors serve as a connection between finishes and edges, highlighting the blazer decorated with direct references to an Elsa design from 1937 and the dress worn by Alex Consani, a reflective sculptural silhouette.

The superimposed belts, as part of a western chic styling, and the figure-sculpted bustiers combine precisely with black dresses that exalt their presence and the masterful jewelry that held the models' hands (literally), accompanied by anatomical bags and necklaces (already an emblem of the brand).

The collection is a celebration and a welcome to the second golden age of Schiaparelli, beyond a cultural and media phenomenon. The message that stands out is that no matter the occasion, they will continue to create haute couture that delineates and transmutes the body into a sculpture. The mastery of shapes, finishes, and the use of materials stands out in a luxurious and elegant way, demonstrating that, if you are in the right place, you will always have style.