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Fashion Network
5 days ago
- Entertainment
- Fashion Network
Schiaparelli kicks off couture with entre-deux-guerres surrealism
Schiaparelli kicked off Paris haute couture week with a sensationally surreal collection that blended "entre-deux-guerres" imagery with punchy futurism. With Dua Lipa, Cardi B and Brazilian star Anitta sitting front row inside the Petit Palais, the Monday morning pre-show was a heated hive of paparazzi activity—even as it teemed with rain outside. In this Fall/Winter 2025–26 collection, the house's couturier, Daniel Roseberry, harkened back to the '30s, referencing founder Elsa Schiaparelli's decision to depart her adopted city of Paris in 1940, just after World War II had begun. Riffing on the house's archive and black-and-white photography of the '20s and '30s, the clothes ranged from steamy surrealism—like a little black dress that was essentially a tightly fitted saddle—to a series of sexy matadors. Some in dry black wool with archive leaf motifs, others in faded grey felt, their shoulders finished with mini saddles. He mixed up transparent tulle and embroidered wool in dramatic evening coats or saucy suits and topped many looks with superb "Qui êtes-vous, Polly Maggoo?" pillbox hats or Henry Moore-like cloches. Before going into overdrive for the evening—with bustier dresses and gowns in lamé and silver—several featured skillfully embroidered Eyes Wide Open eyeballs. One largely transparent slip dress finished in jade beads and pearls had a naked back, the better to reveal knickers composed of strass. A back-to-front satin gown in red—essentially the only other color in this black-and-white show—wowed with a 'beating heart necklace' hung at the back of the neck, over a pair of faux boobs. All in juxtaposition to the soundtrack—a blend of LCD Soundsystem's 'Someone Great' and Mount Kimbie's 'Made to Stay.' 'Back to the future. This was definitely the most entrenched in the archive I have ever been. Looking at photography in black and white in Paris before the Germans invaded, and that twilight of glamour—of bias-cut dresses and what the Schiaparelli jacket was—ended. So, I wanted the timelessness of a desaturated black-and-white world,' explained Roseberry before his mood board in his post-show backstage. There was less body modification than last season's corset-driven looks, with a far more liquid shape to many gowns—sophisticated swans in galuchat or sinful red satin. Overall, the aesthetic was Dalí-era diabolical blended with a certain raw sensuality—a rather brilliant way to start off the four-day Paris haute couture week. 'I think we are on the precipice of a major change, and I am not just talking geopolitically. So, in a weird way, this felt like a sort of swan song. I wanted it to be a farewell,' said Roseberry, who revealed that the house planned to restructure its whole atelier. He called this display the last of a trilogy of collections: Phoenix, Icarus and—seeing as Cardi B exited the show with a black raven on her arm—this latest one would probably be Aphrodite.
Fashion Network
5 days ago
- Entertainment
- Fashion Network
Schiaparelli kicks off couture with entre-deux-guerres surrealism
Schiaparelli kicked off Paris haute couture week with a sensationally surreal collection that blended "entre-deux-guerres" imagery with punchy futurism. With Dua Lipa, Cardi B and Brazilian star Anitta sitting front row inside the Petit Palais, the pre-show was a heated hive of paparazzi activity—even as it teemed with rain outside. In this Fall/Winter 2025–26 collection, the house's couturier, Daniel Roseberry, harkened back to the '30s, referencing founder Elsa Schiaparelli's decision to depart her adopted city of Paris in 1940, just after World War II had begun. Riffing on the house's archive and black-and-white photography of the '20s and '30s, the clothes ranged from steamy surrealism—like a little black dress that was essentially a tightly fitted saddle—to a series of sexy matadors. Some in dry black wool with archive leaf motifs, others in faded grey felt, their shoulders finished with mini saddles. He mixed up transparent tulle and embroidered wool in dramatic evening coats or saucy suits and topped many looks with superb "Qui êtes-vous, Polly Maggoo?" pillbox hats or Henry Moore-like cloches. Before going into overdrive for the evening—with bustier dresses and gowns in lamé and silver—several featured skillfully embroidered Eyes Wide Open eyeballs. One largely transparent slip dress finished in jade beads and pearls had a naked back, the better to reveal knickers composed of strass. A back-to-front satin gown in red—essentially the only other color in this black-and-white show—wowed with a 'beating heart necklace' hung at the back of the neck, over a pair of faux boobs. All in juxtaposition to the soundtrack—a blend of LCD Soundsystem's 'Someone Great' and Mount Kimbie's 'Made to Stay.' 'Back to the future. This was definitely the most entrenched in the archive I have ever been. Looking at photography in black and white in Paris before the Germans invaded, and that twilight of glamour—of bias-cut dresses and what the Schiaparelli jacket was—ended. So, I wanted the timelessness of a desaturated black-and-white world,' explained Roseberry before his mood board in his post-show backstage. There was less body modification than last season's corset-driven looks, with a far more liquid shape to many gowns—sophisticated swans in galuchat or sinful red satin. Overall, the aesthetic was Dalí-era diabolical blended with a certain raw sensuality—a rather brilliant way to start off the four-day Paris haute couture week. 'I think we are on the precipice of a major change, and I am not just talking geopolitically. So, in a weird way, this felt like a sort of swan song. I wanted it to be a farewell,' said Roseberry, who revealed that the house planned to restructure its whole atelier. He called this display the last of a trilogy of collections: Phoenix, Icarus and—seeing as Cardi B exited the show with a black raven on her arm—this latest one would probably be Aphrodite.
Fashion Network
5 days ago
- Entertainment
- Fashion Network
Schiaparelli kicks off couture with entre-deux-guerres surrealism
Schiaparelli kicked off Paris haute couture week with a sensationally surreal collection that blended "entre-deux-guerres" imagery with punchy futurism. With Dua Lipa, Cardi B and Brazilian star Anitta sitting front row inside the Petit Palais, the pre-show was a heated hive of paparazzi activity—even as it teemed with rain outside. In this Fall/Winter 2025–26 collection, the house's couturier, Daniel Roseberry, harkened back to the '30s, referencing founder Elsa Schiaparelli's decision to depart her adopted city of Paris in 1940, just after World War II had begun. Riffing on the house's archive and black-and-white photography of the '20s and '30s, the clothes ranged from steamy surrealism—like a little black dress that was essentially a tightly fitted saddle—to a series of sexy matadors. Some in dry black wool with archive leaf motifs, others in faded grey felt, their shoulders finished with mini saddles. He mixed up transparent tulle and embroidered wool in dramatic evening coats or saucy suits and topped many looks with superb "Qui êtes-vous, Polly Maggoo?" pillbox hats or Henry Moore-like cloches. Before going into overdrive for the evening—with bustier dresses and gowns in lamé and silver—several featured skillfully embroidered Eyes Wide Open eyeballs. One largely transparent slip dress finished in jade beads and pearls had a naked back, the better to reveal knickers composed of strass. A back-to-front satin gown in red—essentially the only other color in this black-and-white show—wowed with a 'beating heart necklace' hung at the back of the neck, over a pair of faux boobs. All in juxtaposition to the soundtrack—a blend of LCD Soundsystem's 'Someone Great' and Mount Kimbie's 'Made to Stay.' 'Back to the future. This was definitely the most entrenched in the archive I have ever been. Looking at photography in black and white in Paris before the Germans invaded, and that twilight of glamour—of bias-cut dresses and what the Schiaparelli jacket was—ended. So, I wanted the timelessness of a desaturated black-and-white world,' explained Roseberry before his mood board in his post-show backstage. There was less body modification than last season's corset-driven looks, with a far more liquid shape to many gowns—sophisticated swans in galuchat or sinful red satin. Overall, the aesthetic was Dalí-era diabolical blended with a certain raw sensuality—a rather brilliant way to start off the four-day Paris haute couture week. 'I think we are on the precipice of a major change, and I am not just talking geopolitically. So, in a weird way, this felt like a sort of swan song. I wanted it to be a farewell,' said Roseberry, who revealed that the house planned to restructure its whole atelier. He called this display the last of a trilogy of collections: Phoenix, Icarus and—seeing as Cardi B exited the show with a black raven on her arm—this latest one would probably be Aphrodite.
Fashion Network
5 days ago
- Entertainment
- Fashion Network
Schiaparelli kicks off couture with entre-deux-guerres surrealism
Schiaparelli kicked off Paris haute couture week with a sensationally surreal collection that blended "entre-deux-guerres" imagery with punchy futurism. With Dua Lipa, Cardi B and Brazilian star Anitta sitting front row inside the Petit Palais, the pre-show was a heated hive of paparazzi activity—even as it teemed with rain outside. In this Autumn/Winter 2025–26 collection, the house's couturier, Daniel Roseberry, harkened back to the '30s, referencing founder Elsa Schiaparelli's decision to depart her adopted city of Paris in 1940, just after World War II had begun. Riffing on the house's archive and black-and-white photography of the '20s and '30s, the clothes ranged from steamy surrealism—like a little black dress that was essentially a tightly fitted saddle—to a series of sexy matadors. Some in dry black wool with archive leaf motifs, others in faded grey felt, their shoulders finished with mini saddles. He mixed up transparent tulle and embroidered wool in dramatic evening coats or saucy suits and topped many looks with superb "Qui êtes-vous, Polly Maggoo?" pillbox hats or Henry Moore-like cloches. Before going into overdrive for the evening—with bustier dresses and gowns in lamé and silver—several featured skilfully embroidered Eyes Wide Open eyeballs. One largely transparent slip dress finished in jade beads and pearls had a naked back, the better to reveal knickers composed of strass. A back-to-front satin gown in red—essentially the only other colour in this black-and-white show—wowed with a 'beating heart necklace' hung at the back of the neck, over a pair of faux boobs. All in juxtaposition to the soundtrack—a blend of LCD Soundsystem's 'Someone Great' and Mount Kimbie's 'Made to Stay.' 'Back to the future. This was definitely the most entrenched in the archive I have ever been. Looking at photography in black and white in Paris before the Germans invaded, and that twilight of glamour—of bias-cut dresses and what the Schiaparelli jacket was—ended. So, I wanted the timelessness of a desaturated black-and-white world,' explained Roseberry before his mood board in his post-show backstage. There was less body modification than last season's corset-driven looks, with a far more liquid shape to many gowns—sophisticated swans in galuchat or sinful red satin. Overall, the aesthetic was Dalí-era diabolical blended with a certain raw sensuality—a rather brilliant way to start off the four-day Paris haute couture week. 'I think we are on the precipice of a major change, and I am not just talking geopolitically. So, in a weird way, this felt like a sort of swan song. I wanted it to be a farewell,' said Roseberry, who revealed that the house planned to restructure its whole atelier. He called this display the last of a trilogy of collections: Phoenix, Icarus and—seeing as Cardi B exited the show with a black raven on her arm—this latest one would probably be Aphrodite.
Telegraph
02-07-2025
- Entertainment
- Telegraph
Put away your fans. They're ruining my evening
In the hottest week of the year, with temperatures reaching 34 degrees in the capital, many of us have felt miserable. It has been difficult to sleep, and public transport has, on occasion, been capricious, leading us to be crabby (or, in my case, crabbier than usual). But one thing in particular has raised my ire and it's linked to my cultural consumption. I have realised that I hate fans. I am not talking about the human variety – the mad dafties who weep over Instagram posts of their favourite pop star's carefully curated breakfast. I mean fans used for cooling, specifically the handheld paper variety, that have been around for several thousand years and can be traced back, in their current form, to eighth-century Japan. My latest crusade was actually triggered a couple of weeks ago when I saw LCD Soundsystem at Brixton Academy, a terrific night of anthemic punk dance, musically on point and unlike any gig I have seen. It was a Thursday night, and temperatures in south London were high enough to defeat the air-conditioning inside the 100-year-old Academy building. My friend and I made a pact not to whinge about how hot it was and simply to enjoy the music. Well, I tried. But my intentions were thwarted by the woman in front of me who was intent on flapping her fan throughout the entire two-hour performance. 'Stop being so irritable, Ben,' said my friend as I kept nudging him in indignation. 'But it is really distracting,' I said. 'All I can see is this piece of paper wafting around in front of me. And she's out of time with the music. I'm meant to be watching one of the greatest bands in the world and yet I feel like I am witnessing some really crap aerobics class.' 'Why don't you have a word, then?' Naturally, being English, I declined to do this, and just kept sighing in a passive-aggressive manner. It nearly ruined my evening. I really don't think I am being unreasonable. Fanning yourself at a concert (unless you are in the back row) is an act of pure selfishness, and not simply because of the visual distraction. The act of fanning also has an effect on your neighbour who has to put up with the feeble amount of air that you are circulating, and quite possibly the unpleasant aroma that arises from the physical exertion. There is also the fact that fanning is ineffective – particularly in humid weather, which was the case on the night of the concert in Brixton. (It's all to do with the air being saturated with moisture, which means that sweat can't evaporate and cool the skin). Electric fans, at rock concerts, are not a problem. Unless you are at a gig by some fey and wispy indie kid, the soft whirring sound that they make will be drowned out by the cacophony of drums, guitars and rasping vocals. But at the theatre – and I have seen this happen – it is another matter. You don't want a Pinteresque pause or a grand soliloquy to be ruined by a monotonous droning noise. I have also seen paper fans used in theatres and here we go back to the problem of visual distraction, as well as the wretched unnecessariness of it all. These days, unless you are in some fringe flea pit, you will be treated to fairly effective air conditioning. Fans, of course, are not simply cooling devices. Throughout history they have been used as fashion accessories, to relay secret messages and as a symbol of your social status. The last of these is instructive, I think. I believe that avid fanners want to be seen to be fanning; indeed there is something performative about the whole act. I do wish they would leave such performances to the professionals.
