{"id":750284,"date":"2026-07-08T10:20:22","date_gmt":"2026-07-08T10:20:22","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/750284\/"},"modified":"2026-07-08T10:20:22","modified_gmt":"2026-07-08T10:20:22","slug":"cathy-horyn-couture-fashion-review-schiaparelli","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/750284\/","title":{"rendered":"Cathy Horyn Couture Fashion Review: Schiaparelli"},"content":{"rendered":"

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\n Photo-Illustration: by The Cut; Photos: Courtesy of Iris Van Herpen, Standing Ground, Schiaparelli\n <\/p>\n

Listen to fashion critic-at-large Cathy Horyn read her review.<\/p>\n<\/p>\n

Daniel Roseberry\u2019s corseted bodies for Schiaparelli have influenced public tastes about feminine fashion, but is the look modern or just something fun to gawk at on Instagram? And can the look ever be both? That was a question lingering over the fall haute couture shows, now underway in Paris.<\/p>\n

Roseberry opened his show on a mirrored runway with daylight streaming in through the windows of the Petit Palais, an art museum, and I was glad to see him out of the annoying darkness that sometimes captivates him. His last two collections, for couture and ready-to-wear, were presented in semi-darkness, with special lighting, and it always makes me think I\u2019m in a casino. Nothing is quite real. Roseberry is also using a lighter hand, which is even more welcome. His January couture collection, you may remember (or not), featured a jacket with animal horns poking out from the breasts and another costume with a scorpion tail at the back. Like most gimmicks, the animal parts quickly become a bore.<\/p>\n

Roseberry\u2019s first looks indicated a new direction. He described a lean black dress with a plunging, squared-off neckline as an \u201cAzzedine kind of thing\u201d \u2014 meaning the strict French form of the late Azzedine Ala\u00efa, a look that was silhouette-driven and that is stamped on every fashion lover\u2019s brain. Just as interesting was a sculptural black jacket that looked as light and delicate as a leaf on the body, and a pair of low-rise pants in a bias-cut cotton-and-linen blend. Roseberry said he used his own jeans as the model for the trousers. They don\u2019t quite qualify as \u201ceveryday,\u201d the way that look has worked so well for Matthieu Blazy at Chanel, but it\u2019s great to see Roseberry relax his grip on ultrafancy clothes.<\/p>\n

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\n Schiaparelli From left: Photo: Filippo Fior \/ Gorunway.com \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

\n Schiaparelli From top: Photo: Filippo Fior \/ Gorunway.com \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

Two other styles that I adored in this collection, because they marked a shift, included a long sheer dress in a flesh-tone fabric covered with quivering black tentacles. Roseberry joked that they were the ends of the artist Salvador Dal\u00ed\u2019s mustache, and that\u2019s a fine Surrealist joke. The other look was a superbly draped black jersey dress with a molded, deeply cut out bodice that just barely echoed the minimalist glamour of Halston. Roseberry knows his stuff, but he\u2019s not derivative. From the back, you could see the corset lacing. To me, the dress is a great example of how that style can be both new and modern and pure entertainment.<\/p>\n

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\n Schiaparelli From left: Photo: Isidore Montag \/ Gorunway \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

\n Schiaparelli From top: Photo: Isidore Montag \/ Gorunway \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

Roseberry seems conscious of his social-media audience. He told me, \u201cWhen you\u2019re designing for the people in the industry, it becomes very claustrophobic. We are the strongest when we\u2019re designing for students and other people, when we\u2019re vibrating on that level.\u201d That approach carries its own obligations. Many of his molded bustier shapes didn\u2019t produce a sense of wonder; you don\u2019t feel anything looking at them.<\/p>\n

But when Roseberry strips things back a bit and uses a lighter hand, he starts to get some novelty, in particular with a delicate nude-beige jacket made from poured silicone \u2014 and treated like silk \u2014 and shown with a wispy dress in tulle embroidered with tiny hand-painted flowers, mostly in lavender. Roseberry used flocks of real flowers \u2014 specially dried to retain a softness \u2014 on clothes, shoes, and bags. Sometimes they were embroidered with velvet ribbon. It was extremely effective, both for the color and the freshness of the embellishment.<\/p>\n

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\n Schiaparelli From left: Photo: Filippo Fior \/ Gorunway.com \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

\n Schiaparelli From top: Photo: Filippo Fior \/ Gorunway.com \/ Courtesy of SchiaparelliPhoto: Filippo Fior \/ Gorunway.com \/ Courtesy of Schiaparelli\n <\/p>\n

As for the silicone, which he used for a white fitted dress that was almost entirely fringed, it came from a workshop that produces photo-realistic infants for the movies. How did the movie-baby-makers like working with a world-class couture house? \u201cThey were so into it,\u201d Roseberry said. \u201cAnd they were all, like, under 35.\u201d Apparently, visitors to the workshop enter through a pair of giant, outstretched legs, with an expandable vagina in the center. This stuff isn\u2019t deep.<\/p>\n

Michael Stewart is an independent designer based in London with a label called Standing Ground that has become a kind of cult favorite, partly for his signature technique of entrapping hundreds of tiny beads in channels on dresses and coats. It\u2019s an anti-approach to rich adornment. A recent recipient of an LVMH Prize, Stewart has long wanted to show at Paris couture, and he finally did on Monday at the Irish Embassy. The other day he said, recalling the effort to put on a show, \u201cYou know what? If I don\u2019t do this, it\u2019s just going to disintegrate to nothing. So I\u2019ve been able to sort of lily-pad across the Channel.\u201d He added that, to his many custom clients, being part of couture is important. \u201cIt\u2019s like the stamp of approval.\u201d He\u2019s absolutely right about that.<\/p>\n

He showed many of his bead-entrapped styles, notably a long coat in the palest dove gray with a clerical collar. They were all beautifully done, but I was more into the softer things, like a deep-brown dress in draped georgette, a red dress with tiny vented openings, and the closing look, a handmade lace dress with a long, trailing skirt, quite romantic. (It was the work of lacemakers in Carrickmacross, Ireland, and it arrived about two days before the show.)<\/p>\n

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\n Standing Ground From left: Photo: Ik Aldama\/Courtesy of Standing GroundPhoto: Ik Aldama\/Courtesy of Standing Ground\n <\/p>\n

\n Standing Ground From top: Photo: Ik Aldama\/Courtesy of Standing GroundPhoto: Ik Aldama\/Courtesy of Standing Ground\n <\/p>\n

New from Stewart were corseted bodies, and he was helped by Mr. Pearl, a well-known corset-maker. They were well done, but, honestly, I missed the lightness and street edge of Stewart\u2019s previous show in London. Just because a collection is \u201ccouture\u201d doesn\u2019t mean it has to be stiff and imposingly elegant.<\/p>\n

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\n Standing Ground From left: Photo: Ik Aldama\/Courtesy of Standing GroundPhoto: Ik Aldama\/Courtesy of Standing Ground\n <\/p>\n

\n Standing Ground From top: Photo: Ik Aldama\/Courtesy of Standing GroundPhoto: Ik Aldama\/Courtesy of Standing Ground\n <\/p>\n

Iris van Herpen called her collection Sonic Starquakes, and for it she wanted to harness the energy of plasma and lightning. Sound preposterous? Not really, if you\u2019re van Herpen. She worked with scientists to create those effects in clothes, including one sliver of a dress embroidered with thousands of tiny glass balls (avoid sitting) and tubes circling the collarbone that glowed with plasma. She also had some amazingly innovative fabrics, including a Japanese polyester that weighs about five grams per meter. Basically, it just flows through your hands.<\/p>\n

But while her investigations were new, I didn\u2019t feel the same about her shapes. They felt a bit stale, and that\u2019s not a planet you want to remain on.<\/p>\n

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\n Iris van Herpen From left: Photo: IK ALDAMA\/Courtesy of Iris Van HerpenPhoto: IK ALDAMA\/Courtesy of Iris Van Herpen\n <\/p>\n

\n Iris van Herpen From top: Photo: IK ALDAMA\/Courtesy of Iris Van HerpenPhoto: IK ALDAMA\/Courtesy of Iris Van Herpen\n <\/p>\n


\n See All<\/p>\n

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