An Excess of Excess at Schiaparelli
Review of Schiaparelli Spring 2025 Fashion Show
By Angela Baidoo
THE COLLECTION
THE VIBE
Whittled waists, extreme hourglass, reflective surfaces, 1980s nautical
Daniel Roseberry’s Schiaparelli proposition for ready-to-wear was all about keeping it in the family as he explained that he wanted to design a generational collection, which is most certainly a reflection of reality as the Schiaparelli pieces that have been bought by mothers who can afford it, have most definitely been ‘borrowed’ by their daughters and eve their grand-daughters. But buying into Schiaparelli has always been an act of securing a family heirloom, rather than simply buying into the latest trending item.
When we consider ready-to-wear there is a level of accessibility which goes along with the notion, however what is not acknowledged is that there are many levels and layers to luxury, with Schiaparelli ready-to-wear sitting at the very top, and in reality just below its couture line as naturally many of the looks presented for spring 2025 were cut from the same cloth (not literally, but then again probably so) with the trickle-down effect coming through in the whittled waists, extreme shapes, and XXL trims. How does the excess and opulence of couture translate to ready-to-wear? In silhouettes made to whip the wearer into – or out of – shape, as the the focus on the middle via corseted shaping created extremes at both the top and bottom as the designer played with levels of volume in some very 80s-style looks.
Roseberry talked of a collection which felt celebratory – he too was thinking on the times we are living through and what role fashion can play in helping the consumers of it feel good, which is what many designers have thought to do this season, presenting collections to uplift and inspire. But while todays collections felt joyous in its use of vibrant colour and 3D floral embellishment and high-shine finishes and as an extension of all the expert artistry which has made Schiaparelli a red-carpet favourite and go-to for those seeking something a tad subversive but still elevated, todays collection felt as if it was strictly focused on a certain type of clientele. One that has been lampooned in popular culture of late – from cinema to small screen and politics its been ‘Eat the Rich’ for a number of years. Which is not to say that Roseberry should dumb down his designs, as his clients are happily buying into the brand in its current iteration. The main issue is that in promoting a certain aesthetic for women of a certain wealth-bracket – and waist size – while looking visually appealing is not as forward-thinking as his vision for couture.
