This morning, Paris woke up to enchantment and provocation. At the Petit Palais, one of the most anticipated moments of Haute Couture Week took place: the Fall/Winter 2025 Schiaparelli show, once again signed by Daniel Roseberry. And it was that unique blend of dream, surrealism, and theatrical tension that turned the runway into a space suspended between art, fashion, and contemporary mythology.
Among the audience—Cardi B, Dua Lipa, Hunter Schafer—there was a distinct sense of anticipation. And right from the start, the show delivered. Cardi B opened the runway in a sculptural black gown with metallic fringe and, most strikingly, a live crow perched on her arm—a surrealist gesture that perfectly captured the essence of Schiaparelli. A gesture that was both elegant and unsettling, rooted in the house’s fantastical DNA.
The collection was titled “Icarus,” a clear nod to the tension between desire and risk, between flight and fall. Roseberry drew inspiration from antique silk ribbons found in Lyon, from forgotten textiles and rare shades like warm mocha and soft peacock green. The result was a series of visionary yet impeccably constructed silhouettes: elongated ‘50s-style jackets, corseted bodices that recalled armor, neoprene-embroidered trench coats, voluminous skirts, and cascades of tulle. Each look told its own story, yet everything flowed in a powerful, coherent narrative.
There was, of course, high drama—but also exceptional craftsmanship. Embroideries were dizzyingly intricate, executed with surgical precision, while the structure of the garments played with exaggerated proportions and sculptural volumes. One bustier, shaped like a high-heeled shoe—a nod to Elsa Schiaparelli’s iconic hat—was a standout moment, a loving homage to the house’s irreverent legacy.
But beyond the technical mastery, it was the message that resonated. “I’m tired of the idea that modernity equals minimalism,” Roseberry said backstage. “Newness can also be opulent, dramatic, baroque.” And today, more than ever, Schiaparelli seems to be the perfect place to explore that kind of maximalist, fearless aesthetic—one that is rich, bold, and deeply refined.
With “Icarus,” Roseberry didn’t just present a collection—he offered an alternative. An alternative to linearity, to aesthetic conformity, to the safety of the expected. He chose risk, flight, and a beauty that burns. And like Icarus, he flew toward the sun—unafraid of falling.