Paris haute couture kicked off in style on Monday with the highly anticipated Schiaparelli show. A parade of luxury cars, including stretch limos and white Rolls Royces, delivered a star-studded audience, including tennis icon Serena Williams, actress Kelly Rutherford, and Philippine Leroy-Beaulieu. The designers set the scene for a truly surrealist fashion experience.
The show opened with a breathtaking display of technical brilliance. A phoenix gown, crafted with two lifelike 3D chrome wings that employed a trompe l’oeil effect, seemed to embrace a stunning black model gently. A pair of striking silver eggshell earrings further elevated the look.
In addition, founder Elsa Schiaparelli donned a coq feather stole in a show titled “The Phoenix,” a tribute to the legendary ballerina Anna Pavlova, her uncanny doppelganger. Yet, their paths diverged. Meanwhile, Anna remained forever tied to her “Dying Swan” performances; Elsa constantly reinvented herself like the mythical phoenix.
In addition, the collection pulsed with the energy of the phoenix. Washed silk gowns and wool crepe bustier dresses alike incorporated striking phoenix-wing shoulders. Dramatic, statement shoulders took centre stage throughout the collection. Often paired with plunging necklines, they created a range of silhouettes that further enriched the thematic thread.
Not only that, the impeccably staged basement of the Hotel Salomon de Rothschild hosted the show. Stripped bare and transformed into a black box, the space featured only thick carpeting and three imposing chandeliers for a touch of glamour.
Thus, after the show, Schiaparelli’s creative director, Daniel Roseberry, explained that focused beams of light illuminated the models’ dramatic walk to the front row from below. This technique, he called “Degas lighting,” aimed to replicate the lighting style of the artist Edgar Degas.
Additionally, each model dramatically veils their head in transparent crepe and locks eyes with the audience in a powerful gaze. This captivating display, practically smouldering with raw empowerment, guaranteed a social media frenzy as iPhone-wielding editors and fans captured every moment.
Corset closures dominated the backs of most dresses, culminating in a breathtaking bustier gown. This masterpiece resembled a mille-feuille, crafted from hundreds of cascading circles that rippled in a mesmerizing wave as the model moved, creating a captivating display throughout the space.
Furthermore, the show pulsed with hallucinatory creations. A jumpsuit sculpted like a cocoon shimmered with faux horsehair and sequins mimicking zebra stripes. Apart from that, another masterpiece took flight as a bird-of-paradise fantasy jacket, its feathers rendered in a dazzling trompe l’oeil effect.
Moreover, the show unfolded against a backdrop of mournful ballads, including Nina Simone’s poignant rendition of “Plain Gold Ring,” further enhancing the atmosphere of the presentation.
“This wasn’t about nostalgia,” a slightly raspy-voiced Roseberry explained in the mansion’s courtyard after the show. “Homage felt too safe. I wanted a surrealist ballet, hyper-sensual and utterly captivating. It had to feel timeless, yet undeniably young and twisted all at once,” he concluded.
The courtyard buzzed with excitement and admiration as the guests departed on their luxurious rides. Schiaparelli’s “The Phoenix” had not only opened the Paris haute couture season with a flourish but also set a high bar for innovation and creativity, blending surrealist elements with timeless elegance. The fashion world eagerly anticipates what the rest of the week will unveil. Still, one thing is sure: Schiaparelli’s spirit of reinvention and homage will be hard to surpass.
