Schiaparelli Spring/Summer 2025 Haute Couture Collection Personal Critic
Daniel Roseberry’s latest offering for Schiaparelli—the Spring/Summer 2025 Haute Couture collection—was a visual tribute to the opulence and craftsmanship of 1920s and 1930s antique ribbons, an era of intricate detailing, delicate fabrics, and surrealist extravagance. While the garments themselves were undeniably breathtaking, the overall execution, particularly in terms of presentation and model performance, left much to be desired.
The Art of Walking: A Major Distraction
One of the most glaring issues with this presentation was the unusual and awkward walking style of the models. Typically, haute couture shows are theatrical in nature, designed to showcase the artistry of the garments rather than conform to the commercialized runway walk of ready-to-wear collections. However, in this case, the models’ exaggerated, almost unnatural strides created an unsettling distraction.
- Some looked as if they were balancing an invisible weight between their thighs.
- Others seemed to hesitate with every step, as if the runway was somehow difficult to navigate.
- The result? Instead of enhancing the elegance of the garments, the walks detracted from the fluidity that the antique ribbon inspiration sought to evoke.
It begs the question: Was this an intentional part of the show’s concept, or was something off with the footwear or runway surface? After all, one model clad in an oversized brown sock-like dress was noticeably struggling, wearing boots instead of the standard couture heels—giving the impression of dragging an invisible weight behind her.
A Lack of Energy: The Models Gave Us Nothing
Beyond the walking, the overall lack of energy and emotion from the models was another letdown. The grandeur of Schiaparelli’s couture pieces demands an equally powerful presence from the wearer. However, the current cast of models appeared detached, expressionless, and devoid of personality, leaving the garments to do all the heavy lifting.
This is where the absence of ’90s-era supermodels’ charisma was sorely felt. Think of Naomi Campbell, Linda Evangelista, or Shalom Harlow—women who wore couture with an attitude, transforming it into a living, breathing art form. They knew how to sell a moment, to embody a vision, whereas the current lineup felt more like walking mannequins.
The Dresses Wore the Models, Not the Other Way Around
The lack of presence from the models also exacerbated another major issue: the movement (or lack thereof) in the garments. Many of the dresses, despite their intricate details, fell flat on the runway.
- The pieces were beautifully crafted, but they hung lifelessly due to the absence of body and energy from the models.
- Haute couture is about drama, movement, and shape, but instead, some looks felt as if they might as well have been displayed on a hanger rack.
- Without a strong physical presence to carry them, the gowns failed to exude the dynamism they deserved.
This collection’s emphasis on fluid antique ribbonwork required a sense of grace and fluidity in movement, something that neither the models nor their unusual walking style managed to deliver.
A Missed Opportunity for Modern Couture
Schiaparelli is known for its avant-garde, surrealist approach to fashion, often drawing from the house’s rich heritage while pushing couture into the contemporary realm. Roseberry’s designs are spectacular, but couture is more than just clothes—it’s a performance, an experience, a fantasy. This show, unfortunately, lacked that immersive magic.
Would a different casting approach have elevated the show? Absolutely. A mix of diverse body types, stronger personalities, and more experienced couture models would have brought the garments to life, rather than letting them stagnate in an awkward display.
Final Thoughts: A Visually Stunning Collection That Fell Short in Execution
While the Spring/Summer 2025 Schiaparelli Couture collection presented an exquisite fusion of antique ribbon artistry and modern surrealism, the overall execution of the show hindered its impact. The awkward walking, lackluster model performances, and absence of body diversity made what should have been a high-drama moment feel underwhelming.
For the dresses, i loved them all
Fashion is meant to evoke emotion, to tell a story. Yet, this collection, despite its craftsmanship, felt sterile and disconnected. Perhaps next season, Schiaparelli can reignite the theatrical energy that made haute couture so iconic in the first place—because couture without charisma is just fabric, no matter how beautifully made.
Disclaimer
This critique is a subjective analysis of the Schiaparelli Spring/Summer 2025 Haute Couture Collection and is intended for discussion and artistic commentary. The opinions expressed are based on personal observations and do not reflect an absolute judgment of the collection, its designers, models, or the fashion house.
Fashion is a deeply personal and evolving form of expression, and different audiences may interpret the same collection in various ways. This critique aims to engage in a thoughtful dialogue about creative choices, presentation, and execution, rather than to diminish the efforts of the talented individuals involved.
Additionally, any remarks regarding the models, styling, or runway execution are not meant to criticize individuals personally but to analyze how these elements contribute to the overall presentation. Respect for all artists, designers, and industry professionals remains paramount.
