MFF 112: Daniel Roseberry: «I like to make the heritage of Schiaparelli dialogue with pop culture»

Entering his office in the historic Schiaparelli building in Paris, the attention is immediately drawn to the imposing Place Vendôme, a symbol of the City of Lights that has become an iconic element in the aesthetic imagery of the Maison. It gives the impression that the opulence of this square perfectly balances the linearity of the huge table where Daniel Roseberry, Creative Director of Diego Della Valle’s brand, gave life to many of his creations: from the iconic dress worn by Lady Gaga for Joe Biden’s presidential inauguration to the world-renowned gold lungs dress that Bella Hadid showed off in Cannes. These are two examples of how Schiaparelli’s state-of-the-art universe, which has experienced a great revival in recent years, had the strength to insert itself within the common sensibility, replicating that same magic Elsa Schiaparelli shaped in the first half of last century.

An opportunity to meet with the designer, not surprisingly, was represented by the exhibition dedicated to the Maison’s founder “Shocking! The surreal world of Elsa Schiaparelli,” on display at the Musée des Arts Décoratifs in Paris until January 22, 2023. The exhibition —inaugurated with a highly glamorous cocktail right after the haute couture Fall/Winter 2022 fashion show— narrates the intersection between Schiaparelli and Roseberry’s visions thanks to the latter’s creations. A successful wedding between the US, Roseberry’s home country, Italy, Elsa Schiaparelli’s homeland, and France, her adoptive home, all in the name of style.

What was your first impression while visiting the exhibition?

I was very touched by seeing all her work in one place for the first time. Naturally, I already knew many of these pieces, but the exhibition exercised an unexpected power the moment all these pieces found their place under the same roof. I was very surprised by this, and I told myself, once again, how modern all her work still is.

Are you honored to be part of this exhibition?

Deeply. I think it takes time to fully understand what this means but I am proud to be part of this Maison and I think the clothes we made in these last three years are here to tell part of this story. It is extraordinary to see how her work influenced mine here.

Would you have ever imagined to be the protagonist of this story?

It is funny because a person may have the ambition to be a fashion designer and to work in Paris, but no one understands what it means until they see something like this, such as what happened on inauguration night. It is marvelous, incredible and, as I have written in the notes for the haute couture fashion show, I am grateful every day to be able to create.

What was your first image of Schiaparelli?

I remember I was in college, I was 19, and they were teaching us fashion history. I was sitting in the auditorium and, in a video, there was an image of the Lobster Dress with Dalí’s Lobster Telephone on the side. I remember this idea of transfer, of recontextualization of something transferred on something else. It was the first time I had seen it and I did not stop thinking about it until I met Diego (Della Valle, ed.).

Do you remember the day you two met?

I remember when I met him for the first time at the Carlyle Hotel in New York. When I got inside, I started talking with Hamish Bowles and when he left, I took a seat. I was so nervous but, on the outside, I looked calm. We had a lovely chat and he asked me to put up a project together. I just had a month to do it. Knowing Diego now, I better understand his working method and his expectations, and I truly appreciated the opportunity I had to develop an offer making it reach its full potential.

You mentioned the Lobster Dress which is part of the exhibition. Is there an historic piece that inspired your work the most?

It is probably obvious, honestly, but the Skeleton Dress opened the idea for me that the human body can be used like a code in our Maison. Elsa explored its anatomy in one way, but there are infinite ways to investigate and inquire such a universal symbol.

How can this surrealistic approach be translated from Elsa Schiaparelli’s creative world to today?

It is funny because most people focus on the surrealism which is, to be honest, just a part of her work. Elsa created many non-surrealistic collections. The haute couture collection we presented in July did not have anything to do with this vision. Surrealism is something everyone is talking about nowadays, but I do not really care that much about it, I wanted to explore a more romantic vision. The web and social media are oversaturated with surrealism and to me it was more interesting to focus on beauty and romanticism. Even though there is something surreal in the way we approached romanticism. Surrealism is tricky because the world we live in today is already so surreal by itself…

What is more yours and what is more related to its founder in the new Schiaparelli?

Being an American raised in the 90s, I think I have my personal background. I like to make pop culture dialogue with the Maison’s heritage. I believe that the Maison’s legacy is big and crystal clear. Just think at the way it uses the color black. I was deeply inspired by her use of black, as a way to ground each creation and make it focused on silhouettes and tailoring. In this regard, the way Elsa explored the volumes of eveningwear by giving a more sensual vision of the body is incredible. I think these are the points of connection. The study of body anatomy and jewelry are more related to me, but there is still a very natural connection between her world and mine, so much so that sometimes there is someone in the team that says, “Have you seen the dress she made with these details?” And I tell them, “No. There was a natural connection between two universes”.

Your Schiaparelli creations are the stars of covers, articles, photoshoots and they catch the spotlight on red carpets. How does it feel to be the designer of the moment? You have the same popularity among stars and celebrities as Elsa did with the protagonists of her time.

I think it is very surreal. Luckily, I feel detached from a lot of this. It is fundamental to me that people respond positively to my work but, sometimes, it looks like it is happening to someone else because it feels unreal.

It is not hard to believe that. You were born in Texas, now you work in Paris, and you are surrounded by this extraordinary world...

When we dressed Lady Gaga, my sister-in-law called me to tell me that she had seen a woman in Wisconsin, in the heartland of America, who was doing a little needlepoint embroidery of the dress that I had created for her, intended to decorate a pillow or something, and she said, “Daniel, would you have ever thought that an unknown woman in Wisconsin would ever embroider one of your creations for a pillow?” And I told her, “Yes, I would”. I absolutely always wanted and dreamed of it. And I knew it would have happened. Despite that, I still think it is quite surreal and sometimes I think it is happening to someone else.

You worked for more than ten years alongside Thom Browne, a true master of avant-garde fashion, on menswear and womenswear collections. What are the fundamentals you learned from this experience?

It was extraordinary. On a creative level, Thom's world is so specific and unique that for me working in such a structure was an incredible playground. Thom, through his example, showed me how to be a creative director, how to be generous and reasonable with others. I think a person is a result of the people who shaped them, and I was lucky to have Thom as my mentor and example.

Have you stayed in touch?

Yes, we talk sometimes.

You have dressed numerous celebrities, from Bella Hadid on the Cannes red carpet in the gold lungs dress to Lady Gaga during Joe Biden’s presidential inauguration. What was the strongest emotion you remember from those moments?

With both Gaga and Bella, I really felt that I made a connection with the culture beyond the role of fashion. Now we have become part of the Zeitgeist. The fact that what you draw on a piece of paper in your office is seen by everyone in the world within two weeks or ten days is a surreal experience and is one of the aspects I love about fashion. That is, the power of transcending the luxury of Place Vendôme and creating an exceptional moment that can be experienced by everyone.

Is there someone you would like to dress? A star, an actress?

No one in particular. Regarding famous people, I sympathize with the ones I know because it is not easy to be the center of attention all the time and stay grounded. However, I do not have anyone in particular in mind.

Is there any anecdote related to your collaborations with these celebrities?

Not particularly, and even if there were some, I would like to protect their privacy.

What is your mission as a fashion designer?

Once, at the end of a show for Thom Browne, I was so exhausted, and one of his friends said to me, “Cheer up. You should feel great because you brought beauty into the world”. One thing I know for sure is that, even if the criticism sometimes is not positive, we try to do our best because of beauty. My life as a boy in Texas was changed by looking at the beautiful pictures of billionaires' houses on Architectural Digest or fashion collections on style.com. All this changed my life and allowed me to imagine a new world for myself, to move to New York and then to Paris. I think the power that fashion must inspire change in an individual's life is underestimated.

The women in your family, starting from your mother down to your sisters, have always inspired you a lot...

Especially my mother. She has a natural elegance that ranges from the way she moves and dresses to the way she behaves with others. I have never liked people who are rude to others, I am much more interested in people who are kind and generous. And these are the words that can be applied to the latest couture collection I designed for Schiaparelli. These dresses are an act of generosity to the people who will wear them, to the photographers who will shoot them, to the celebrities who will use them on red carpets. There is a generosity that I hope the dresses convey in the experience of wearing them.

You recently dressed your sister for her wedding. How did it feel?

It was amazing. It was a different experience for me, and I have never seen her so happy. She is so beautiful, and I love her immensely.

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

I think these two universes need each other. Reality makes fantasy more interesting. However, I also do not want to live in a world where there are no dreams. So, for me both universes are equally important to Schiaparelli. I got into couture because it is an incredible, exciting and intense creative process, but I am also excited about the idea of building a brand based on ready-to-wear.

How is the latter performing?

Really well. The collections are selling to incredible customers and the exclusivity that the brand has, its level of luxury and creativity are so unique. We are committed to protecting that.

You opened your first permanent store at Bergdorf Goodman last year...

They have an incredible business. This year will be amazing for expansion, but I cannot say anything yet.

Jewelry is a big passion of yours. How can it connect to the world of Elsa Schiaparelli?

Jewelry is the dimension where the codes of the Maison can live in a very free and natural way. The surrealism, the anatomy, the padlock… they appear so rich on gold. And when I think of Elsa, I think of a sharp suit worn with an extraordinary piece of jewelry. It was part of the way she dressed. The pieces were big and showy, and this formula of simple clothes mixed with important jewelry is extraordinary for ready-to-wear.

What are your thoughts on the metaverse? We could call it a kind of surrealistic space, in a way...

I do not have a burning desire to explore the metaverse. It will probably become important and unquestionable, but I do not think it will ever be as essential as a real experience.

What do you see in the future of the fashion house?

Maintaining the current level of luxury but taking its voice far away to become dominant in the fashion world. At the same time, Elsa made everything from fragrances to beauty, skincare to swimwear, 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.

What do you see in your future?

I see myself thriving in my work. It is my passion, I love creating, I love leading a team of people. And I see myself committed to being happy in Paris and, one day, building a personal life outside of work.

Do you miss New York?

I miss my loved ones.

If you had not become a fashion designer, what would you like to be today?

Part of me says I would like to be a performer, but I would also like to be an artist, a sculptor... I would like to create objects that are a mix between home and art. However, I would also like to be a painter.

Your clothes are like works of art...

They are sculptures in a certain way. I think I have an eye.

Is there one creation of yours that you are most proud of?

The gold lungs dress because from my point of view, in its simplicity, it represents the perfection of design. (All rights reserved)