Daniel Roseberry: «My dream for Schiaparelli»

«Observing this world enclosed in one place, I repeated to myself, once again, how modern her work still is». This is how Daniel Roseberry described, with a cool mind, the emotions he felt when visiting the exhibition «Shocking: The surreal world of Elsa Schiaparelli,» which opened during haute couture week at the Musée des Arts Décoratifs in Paris with a glamorous cocktail reception, open to the public until January 22, 2023. This is the first exhibition dedicated to the legendary Italian couturière, transplanted to the Ville Lumière since the reopening of the Maison that bears her name. A jewel rooted in the heart of Place Vendôme returned today to its former glory thanks to the investment of Diego Della Valle, who in 2007 took over the brand and started a process of relaunch, and to the arrival of Roseberry as Creative Director in 2019.

In fact, the Texan designer has proved capable of finding the perfect alchemy to bring the codes of that universe back into the contemporary world. And it is precisely to this next step that the last rooms of the exhibition are dedicated, which, in total, brings together 520 creations, almost half of which were made by Elsa Schiaparelli herself, as well as works signed by her friends and collaborators such as Man Ray, Salvador Dalí and Jean Cocteau. The retrospective also highlights how great designers including Yves Saint Laurent, Azzedine Alaïa, John Galliano and Christian Lacroix paid tribute to her with their creations. A journey culminating with collections signed by Daniel Roseberry himself, interviewed by MFF in Paris after the haute couture show.

What was your first impression upon visiting the exhibition?

I was very touched by seeing her work brought together in one place for the first time. Of course, I already knew many of these pieces by heart but, the moment all these objects were gathered under one roof, the exhibition exerted an unexpected power. I was really surprised by this and repeated to myself, once again, how modern her work still is.

Are you honored to be part of this exhibition?

I am deeply honored. I think it takes time to fully understand what it means but I am proud to be part of this Maison and I think the pieces from the last three years are there to really tell part of this story. It is extraordinary to see how her work has influenced mine here.

Did you ever imagine that you would have a role in this story?

It is funny because a person has the ambition to become a fashion designer and work in Paris on couture but does not really understand what it means until they see something like this, like what happened on opening night. It is amazing, it is incredible and, as I wrote in the couture show notes, I am grateful every day that I have the opportunity to create.

What is the first image of Schiaparelli that comes to your mind? Before you became Creative Director of the Maison…

I was in college, I was 19 years old and I was at a lesson of fashion history. I was sitting in an auditorium and I remember an image of the Lobster Dress projected on the video with the lobster phone made by Dalí next to it. I remember this idea of transfer, of recontextualizing something translated into something else. I had seen it for the first time in my life and I never thought about it again until I met Diego (Della Valle, ed.).

Do you remember the day when you first met?

I remember when I first met him at the Carlyle Hotel in New York. When I walked in, he was talking to Hamish Bowles and when he left, I sat down. I was very nervous but, on the outside, I kept it together. We had a wonderful talk and he asked me to develop a project. I only had one month to do it. Knowing Diego now, I better understand his way of working and his expectations. I really appreciated that I had the opportunity to develop a project, to transform a proposal making it achieve its full potential.

You mentioned the Lobster Dress, which is part of the exhibition. Is there a historical piece that has inspired you the most in your work?

Honestly, I think it is a trivial answer, but I would mention the Bone Dress that for me opened up the idea of how the human body can be used as a code by the fashion house. She explored its anatomy in one way but there are endless ways to explore such a universal symbol.

Do you feel more comfortable designing couture or ready-to-wear? Do you think Schiaparelli is more of an haute couture or ready-to-wear brand?

I think these two worlds need each other. Reality makes fantasy more interesting. I do not want to live in a world without dreams. So, for me both dimensions are equally important for Schiaparelli. I really got into couture because it is an incredible, exciting, intense creative process. But I am also excited about building a brand based on ready-to-wear.

How is the latter business doing?

Really well. The collections are selling incredibly well and we are working with amazing clients. The exclusivity of the brand, its level of luxury and creativity are so unique. We are committed to protecting all of that.

Last year you opened your first permanent store at Bergdorf Goodman's...

They have an incredible business and this year is going to be extraordinary for our expansion, even though I cannot say anything yet. Everything is still top secret.

What do you see in the Maison’s future?

Maintaining the current level of luxury, but also taking its voice far away and making it dominant in the fashion world. At the time, Elsa developed many lifestyle projects, from fragrances to beauty, from skincare to swimwear, from hats to homewares... Schiaparelli's language can be extended to all product categories in the future. My dream is to expand the brand beyond fashion. (All rights reserved)