Schiaparelli’s Art
in Motion
Anders Christian Madsen reviews the Schiaparelli Spring/Summer 2026 collection by Daniel Roseberry.
Guests took what always feels like infinite flights of escalators to get to the top of the Centre Pompidou where the Schiaparelli show took place on Thursday evening. Inside, a dark space with a curved runway covered in black gravel transported you to a world far from the panoramic views of Paris you’d witnessed on your way up. It was, to use the word traditionally associated with this house, surreal. It was also a little bit like visiting a museum: that brief experience of total immersion. In March 2026, an expansive Schiaparelli exhibition will open at the V&A in London; something that had clearly inspired Daniel Roseberry’s collection.
“[I feel] that going to a Schiaparelli show should feel like going to a museum: an experience equally inspirational, aspirational, and reassuring. It should awaken the sensation of dancing alone at home after work. It should feel like dancing in the dark — just as liberating; just as private; just as joyful,” he said. Roseberry conveyed that feeling in a sensually slow-paced staging that showcased each look as if it were a piece of art. If art constitutes something that challenges the eye — that makes you look twice — many of the tailoring and dress constructions lived up to the notion.
SCHIAPARELLI
Rigorous tailoring adorned with organic forms read like sculpture on the physique, a feeling echoed in tight leather dresses with bosom embellishments. A study of Elsa Schiaparelli’s tear motifs manifested in tops, skirts, and dresses with various interpretations of slashes and holes. Most intriguing to the eye were Roseberry’s mercurial evening gowns with huge crumpled-up rosettes rising from the shoulders, as if the oscillating silk had grown stiff and metallic along the body. Was it art? For Kylie Jenner — whose sister Kendall closed the show — and the many Schiaparelli-clad clients in the audience, it was no doubt their ideal day at the museum.
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