“Eating well gives a spectacular joy to life and contributes immensely to goodwill and happy companionship. Bertrand Guyon’s second couture collection for Schiaparelli centered around food and the table. Those “psycho chic” day clothes, as Roseberry described them, morphed into evening pieces that evoked Schiap’s dreams—dreams that his elegantly self-penned program notes explained “were active, propulsive, exuberant, extravagant, rebellious, [and] ambitious”—and nodded to Yves Saint Laurent and Christian Lacroix’s ’80s and ’90s couture work in striking ultramarine, scarlet, viridian, and of course the brand’s own iconic shocking pink. “There’s this story about Schiap putting seeds in her ears and up her nose. All rights reserved. Elsa Schiaparelli installed a trattoria in the basement of her Paris house and staffed it with an Italian chef.
His Ready-to-Wear launch today was similarly dynamic. Coupled with the porcelain potato and copper lettuce leaf brooches found on some of the looks, they created a sense of earthiness that’s unusual in haute couture, where sequins and crystals are the typical currency.
It is of great importance to the morale,” she wrote in her autobiography, Shocking Life. Schiaparelli Spring 2020 Couture collection, runway looks, beauty, models, and reviews. (A previous iteration was demi-couture, and complicated to shop for.) Fine china and cutlery figured prominently as well on jacquards, as leather appliqués, and on a white-on-white brocade used for the show’s most sublime look, an A-line gown worn with a cropped and fitted beaded jacket. © 2020 Condé Nast. These pieces were not necessarily subtle.
Elsewhere, Guyon turned vintage napkins into decorative motifs, splicing them together in windmill designs (a feat of patternmaking if ever there was one) and inserting them on the front and back of jackets. J.Crew catalogs of the same period inspired broad varsity stripes in incendiary colorways. Ready-to-Wear has been an inconsistent element at Schiaparelli since its resuscitation as a haute couture purveyor by Diego Della Valle in 2013. The designer’s famously scandalous lobster-print dress for Wallis Simpson was reimagined by Guyon as beaded embroidery on the bib front of a gown. This collection’s appeal will largely depend on Schiaparelli customers’ taste for its theme and Guyon’s quite literal application of it.
Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Ad Choices. But mealtime was a preoccupation of the house founder as well. All rights reserved. The Ready-to-Wear itself nodded firmly in Schiaparelli’s direction, not in terms of her powerful ’40s silhouettes—Roseberry preferred a more stripped-down shape—but definitely with regard to her flair for surface details.
It was a feeling accentuated by a pair of capes—one hip-length, the other trailing a train—hand-crocheted from a raw wheat fiber. Second helpings of that kind of thing next time around. Daniel Roseberry made a memorable debut this July, when he sketched his way through his first Schiaparelli Haute Couture show, completing 30 drawings for 30 exits as the audience looked on.
Roseberry also looked at Schiap’s 1930s friends and collaborators, including the modishly minimalist Deco Moderne furniture and interior designer Jean-Michel Frank (for a daytime palette of cerused oak and parchment that he mixed with navy and cigar brown) and Alberto Giacometti (for the skeletal jewels and rhinestone “bone” embellishments that also referenced Schiaparelli’s own shocking padded jersey skeleton evening dress of 1938).
Elsa Schiaparelli installed a trattoria in the basement of her Paris house and staffed it with an Italian chef. Maison Schiaparelli. That was merely an appetizer: There were pasta-print long dresses, exquisitely rendered root vegetable embroideries on a neoprene tee, a cracked egg cape whose bright yellow yoke doubled as the sun, and even a gown with twin cherries hooked over one nipple—“the cherry on the cake,” it was called. On the sparer side of Roseberry’s proposal was a tunic-and-pants set in black viscose plissé and a green and black cape dress softly tied at the waist over black trousers. His imagination rivals Schiaparelli’s own. Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The Dallas-born Roseberry brought his own uniquely personal references to bear too, looking, for instance, at 1980s copies of Sports Illustrated featuring the pulchritudinous Elle Macpherson, which inspired playful swimsuit-back dresses with trompe l’oeil tan lines or reveals of net or leather the color of the model’s skin (an effect that met with varying degrees of success).