There’s something so pure and effortless about both Schiaparelli’s Spring/Summer 2027 collection and the way the show was presented. Maybe it was the way the models walked across the carpet, or the unhurried pace at which each look was revealed. Everything felt calm, and the focus was on the clothes—not the setting, the music or the front row. It felt a little like the way fashion shows used to be, didn’t it?
In the beginning, fashion shows were anything but shows. They were intimate, almost silent presentations held in private salons, where the clothes were allowed to speak for themselves. Somehow, that atmosphere wraps the collection in exactly the right kind of softness. Conceived with Schiaparelli’s clients in mind, it seems to look past the theatricality of the garments and simply lets the pieces exist: quietly, beautifully, on their own.
Going Clear is the title of Daniel Roseberry’s new collection. He has managed to take a forgotten house and turn it into one of the most desirable names in fashion. Several collections in, something now feels different: he has given us Schiaparelli without making it overly theatrical. And that is by no means a bad thing. What would Schiaparelli be without those iconic forms of expression that constantly take us back to its founder, Elsa? We see all of that in his couture presentations. For ready-to-wear, however, Daniel tones it down and has constructed a system of sorts: almost like a capsule wardrobe in which essential pieces combine with one another to open up endless possibilities. The two-piece looks are intentional; each piece works on its own, but also as part of something larger.
This show feels like listening to a Sade song: effortlessly elegant, sensual and with just the right touch of something you can’t quite put your finger on. A mood, a vibe. Of course, black takes centre stage, paired with white and punctuated by touches of gold. Everything seems to have the quality of a jewel: luminous, precious and unmistakably special.
Every look becomes an ode to volume and possibility. Without losing the house’s inherent sense of theatricality, the impeccably tailored pieces feel entirely attuned to the present. They create more classic silhouettes, but always through a process of reinterpretation and, above all, homage—a way of looking back without becoming nostalgic, taking the codes that have defined Schiaparelli and giving them a contemporary language. Among these codes, we see many recognisable signatures: lips, sculptural forms, touches of gold, tentacles, keyholes and fingers.
The essence of Schiaparelli is everywhere. Beyond the clothes, the styling is impeccable: slicked-back hair, statement earrings, those unmistakable shoes and, of course, the bags. And we can’t forget the black lip, a defining expression of the collection’s Schiap black palette. In every piece, you can recognise that distinctive sense of form and volume. Roseberry has managed to translate Schiaparelli’s maximalism and surrealism into something more accessible and wearable. The message is clear, as is the way he chooses to communicate and commercialise it: preserving the fantasy of the house while turning it into a wardrobe.
Femininity runs through the collection as a clear statement, expressed through its sharply defined, distinctive silhouettes. Special mention must go to the classic blazer, which Roseberry reinterprets in multiple iterations—from moss green to satin pink and an almost electric blue—each adorned with the house’s iconic embellishments and jewellery-like details. Everything is as spectacularly beautiful to admire as it is desirable to wear, making the concept feel all the clearer. Roseberry, you did it.
