Paris is unique in the fashion world for being the home of haute couture, the french word for ‘high sewing’ a term for exclusive and often extravagant custom-fitted pieces. Paris is the only fashion capital to host a fashion week specifically dedicated to couture. Running from January 27th to the 30th of this year, Paris Couture Week showcased lines from big names such as Schiaparelli, Dior, Chanel, Giorgio Armani, Valentino, Jean Paul Gaultier. Schiaparelli’s show kicked off the week, and its strong opening proved to be its highlight.
As the luxury sector continues to struggle to find its footing and many creative directors choose to embrace a ‘back to the basics’ approach, Daniel Roseberry continues to push the envelope with the show’s extravagant opulence and flair. The collection, titled Icarus, is a reference to the Greek myth of a boy with wings who flew too close to the sun. Although the collection was devoid of winged and solar motifs, Roseberry settled on the name because it symbolised flying as high as you can, something the ambitious designer sought to achieve with this collection. Roseberry commented backstage, “It’s the promise of escape — because he was looking to escape — and I just think that’s what couture can offer its audience and its clients: it’s the promise of just 15 minutes of a suspended reality.” Roseberry’s analogy felt particularly poignant for our current times, as global geopolitics grows increasingly tense and Europe grapples with sluggish economic growth. Now, escapism has become a luxury in itself—one that couture’s clientele actively seek, reinforcing the art form’s enduring relevance in the 21st century.
Flaccavento, writing for the Business of Fashion, described the collection’s colour palette as “pale and lunar”, dominated by nude tones and black, along with the occasional bursts of gold. Unlike his past, more vibrant collections, Roseberry opted for a more subdued palette to direct attention to the intricacies of his designs. It was a deliberate and intelligent decision, given the collection’s emphasis on corsets and bustiers–both known for their complex construction. These pieces showcased masterful construction whilst evoking the enduring glamour and elegance that corsetry represents to modern audiences.
Speaking of the modern, although taking primary inspiration from an Ancient Greek myth and a box of early 1900s Lyons couture ribbons, Roseberry did not seek to make this collection an homage to the past, but rather sought to imbibe these antique designs with a modern sensibility. Blending old couture techniques with new synthetic fabrics such as Ultrasuede and neoprene, Roseberry’s aim was to showcase “antiquity and modernity at the same time.” Stating that he wanted to, “challenge this idea that to be modern, it must be simple.”
Indeed, one thing his collection was not was simple. A recurring signature throughout the collection was the presence of outlandish, almost gravity-defying silhouettes. These striking dresses not only reinforced the mythical theme Roseberry sought to exemplify but also served as a testament to his exceptional craftsmanship and meticulous tailoring. The collection balanced daring innovation with traditional femininity—tulle, bows, lace, and sequins adorned dresses with sharp edges, strong shoulders, and flared skirts. The softness of these delicate details grounded the bold structures, while the architectural elements modernised classic femininity, making it feel powerful rather than constrained. It was another striking addition to the catalog of the Schiaparelli woman, showing Roseberry has a deft understanding of the archetype his predecessor, Elsa Schiaparelli herself, crafted: a woman who is an enigma, exuding sex but still effortlessly sophisticated–elusive, expensive, and elegant–without making the idea feel recursive.
Some standout pieces included a fabulous embroidered ostrich-feather coat worn by last year’s Model of the Year Alex Consani, full of the drama that couture does best whilst avoiding looking costume-y. Another fan favourite was a look worn by South Sudanese model Rejoice Chuol, a woven dress in faded pistachio organza finished with a cascade of fringe. Fringe is having a big moment this year, with fringe gaining momentum across luxury and commercial fashion, and Roseberry’s submission to the trend was splendid, feeling timeless yet current. Other looks were less showy, but still full of drama and flair–blazers and skirts so angular they looked almost like sculptures, and dresses with such a mass of tulle or fringe they felt alive with movement. There was also an embroidered flower motif everywhere throughout the collection, which was the perfect bridge between the futuristic looks and antique ones that stopped the two distinctive styles from feeling disjointed. Celebrity supermodel Kendall Jenner donned a dress that perfectly exemplified this synthesis: a corset with boning that hugged her curves so tightly that Vogue’s chief critic Sarah Mower described the look as giving her “the silhouette of an Art Deco landmark building”, balanced out with a more classical touch with the addition of pearl grey satin embroidered with gold flowers wrapped around the bottom of the dress.
Overall, Roseberry did a fantastic job avoiding a pitfall that haute couture designers often fall into: striving for such extraordinary designs that the pieces end up feeling costume-y and lacking function. With Icarus, Roseberry aimed to balance modernity and antiquity, and it was a success, resulting in a collection both timeless and fresh that will surely become a staple on red carpets this year.
By Siena Jackson
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All images courtesy of Vogue
sources siena article
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