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Daniel Roseberry’s debut at Schiaparelli began with the designer himself. In a blacked-out room he sat down at a drafting table, put on his headphones and started to sketch, while the looks he was drawing walked out around him. For a relative unknown who had spent a decade behind the scenes at Thom Browne, it was a fearless way to say hello.
He did not want nostalgia. Instead of copying Elsa’s greatest hits, he took her Surrealist habit of putting things where they do not belong, and her obsession with animals and nature. Red acrylic nails became ladybugs crawling over a bustier worn with a billowing ball skirt. A rhinestone python coiled around a neck. A Stephen Jones hat looked like a brain. There was a Velcro sheath with beaded pieces that could be moved around, and tailoring faced in exotic skins for the client who needs daywear. One jacket had sleeves that opened into wings of beaten faille.
The finale was pure release: dresses in parrot and butterfly colours, a sharp chartreuse chosen as the exact opposite of Shocking Pink, and gowns like rising clouds of silk. Not every idea landed, but the confidence did. Looking back, you can see the whole Roseberry era starting here.
Pictures courtesy of Vogue Runway
We do not own the rights to any of these images and they have been used in good faith. Every effort has been made to ensure that all images are used with proper credits. If you are the rightful owner of any image used on our site and wish to have it removed, please contact us at ayerhsmagazine@gmail.com and we will promptly remove it. We are a non-commercial, passion-driven, independent fashion blog and do not intend to infringe any copyright. Thank you for your understanding.
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