Ain't No Bullsh*t Here
Schiaparelli Haute Couture Fall 2021
It’s Couture season again baby!
Let’s start off with Schiaparelli. Daniel Roseberry’s, creative designer for the brand, previous couture show was quite a big success, with the looks being seen of celebrities and red carpet events as well as working with loads of celebrities and giving them custom looks eg. Beyonce at the Grammys etc. While this collection didn’t stray far from the vision of the previous, gold plated chest plates and leather abs were left out while anatomical organs as accessories and voluminous looks of taffeta made their appearances again.
The collection, titled ‘Matador Couture’, saw Roseberry exploring a range of influences like Spanish bulls, matadors, and bullfights; the idea of half-animal half-humans and also a sense of romanticism which is always a constant in all the work that he does. He also references a number of iconic designers like Jean Paul Gaultier, Yves Saint Laurent, Christian Lacroix, and of course Elsa Schiaparelli herself. Even with so many nods from various designers, he keeps them grounded in the Schiaparelli identity and manages to make them its own thing. Remember, you’re not copying if you outrightly mention them as a reference!
There were looks featuring beautiful hand embroidered and embellished silks that take on the shape of costumes of the matador, the signature gold plated accessories and hardware is also brought in along with the designs. The monochromatic black and white Matador-inspired look also features the conical bra, this is an example of his reference to Gaultier. Personally loving the black strapless look, modeled to the body of the model and embellished in beautiful gold. Instead of turning into straps, the cups hold structure and extend to become the horns of the wearer out of the corset. It’s clear enough, a bull horn reference but also subtle enough it doesn’t make people scream illuminati.
Of course throughout you also notice the accessories in silver and gold, earrings with the emphasis on ears, hands as a sort of clasp or cover, and eyes, repeated over the looks. The usage of denim in this collection is interesting. The denim jacket here is actually made out of a patchwork of 11 used Levis jeans he found in a thrift store. While Vogue refers to it as Haute Friperie (High Thrift shop), I can’t help but think about Macklemore’s hit Thrift Shop, looks like his rich white ass finally found something to match his image. Additionally, I can totally understand and appreciate the use of vintage denim but in the context of couture, idk how it’ll come across to potential buyers. Will you be willing to pay let’s say $20,000 for a look that’s base is made out of Levis 1-for-1 trade-ins? Then again I’m nowhere reach enough to be a potential buyer so who am I to say.
This other piece, a silver corset bustier paired with a beautiful black fringe cape of some sort, was revealed to be made out of garbage bags. Exquisitely done? Yes, but same concern as above, although I guess it may just be Roseberry showcasing his expert craftsmanship and ability to turn banal objects into beautiful couture pieces.
Then in the second room of the presentation were looks that definitely got one’s attention. A beautiful gold flower along with its roots/stalks is worn as a corset along with an expertly draped skirt and cape. The flower gives a sense of fragility and femininity but don’t be fooled by the strength of its metal core. Another look sees a dramatic scoop front neck dress in black accessorised with a statement necklace of gold bronchi which provides the breath (no pun intended) of life, sort of like roots of a plant and lungs for humans. IF I could, this would be one of my top takeaways from this entire collection.
Similar horn sporting out of the corset look can also be seen here but without the embroidery, this time the details and intricacy are all on the stockings and legs of the model.
There was also a sharp black blazer look, with the lapels embroidered with details akin to a measuring tape. The reinterpretation of the tool in gold embroidery is a nod to the surrealist tailoring of the label’s founder and also very tape measure. The handbag with the face too, adorrrrrbs.
Every time you feel unappreciated and feel like no one realizes what a gift you are, Roseberry has got the look for you. These two looks, the one in gold being my favourite out of the entire collection, has a simple black dress surrounded by a halo of metallic ruffles. Almost like the gift wrappings or a ribbon you receive when you know the gift is expensive. These ruffles are actually made out of eel skin, how he made the leather look like reflective foil is totally past me but his exploration of textile and material really shows his passion and dedication to his work.
Like every couture show, the bride closes the collection. The dress looks familiar this time and that’s because similar to a number of looks earlier and also from the previous show, Roseberry ends off with his masterful technique of draping and pleating of white taffeta. With a silver metallic bodice encrusted with jewels, it is surrounded by a swathe of ruffles, cloud-like and dreamy. The dress reportedly is made out of 70 metres of taffeta, 70 freaking metres. Whether it’s the model doing the ironically heavy lifting or his exquisite structure and technique (probably both let’s be real), the look looks light and effortless, something floating on its own. And that’s what makes Roseberry so good, his dedication to the craft is evident in the end product. Whatever he works on you know it’ll sweep you away, now excuse me while I envision a wedding in that gown and me partying in eel leather.
Pictures courtesy of Vogue