DANIEL ROSEBERRY MAKES COUTURE LOOK EASY
SCHIAPARELLI’S HAUTE COUTURE SPRING-SUMMER 2026 COLLECTION REASSERTS THE FASHION HOUSE’S CLEAR COMPETENCE AS A TOP-LEVEL COUTURIER. WESLEY BRAY TALKS US THROUGH THE COLLECTION.
Written by Wesley Bray
Edited by Gabriel Mealor-Pritchard
Glamour, extravagance and extraordinary craftsmanship are only a few adjectives to describe Daniel Roseberry’s latest offering for Schiaparelli. The collection truly was nothing short of a spectacle. Titled “The Agony and the Ecstasy”, Schiaparelli’s haute couture spring-summer 2026 collection extends the fashion house’s streak as a must-see during couture week.
Cohesion is something Roseberry seems to have mastered. Golden hues, which we have grown to associate with Schiaparelli, were present throughout the collection. These were paired with nudes, oranges, reds, whites, blacks and the occasional pop of blue and green. What stands out most is Rosebery's ability to have a wide-ranging use of silhouettes that somehow come together to paint one uniform picture.
Explored in various forms, animals were a clear reference point for this collection. Particularly, birds and reptiles. Feathers, made from bouquets of silk thread, were featured on several looks, showing the lengths to which haute couture can elevate clothing into genuine pieces of art.
References to birds extended beyond impressive handmade feather replicas to the use of beaks to create a sense of amour. Elsewhere, the collection featured necklaces and crowns offering bird eggs as an alternative to precious stones. The clothes were villain-like but far from costumey.
As one would expect, Roseberry’s approach to dressmaking is highly sculptural. Layers of sheer tulle were a widely used motif in the collection, oftentimes presenting an aura-like amplification of the mood these clothes were conveying. Elsewhere, bas relief design techniques created a sense that these clothes were alive, or serving as a source of life, enabling elements to grow on top of them.
Highlights from the collection included what Roseberry described as the ‘scorpion sisters’. For these two looks, jackets transformed into sculptural scorpion stingers, evoking a sense of fear and danger, while simultaneously demanding respect for craftmanship and sheer beauty. The two looks appeared to act in unison, providing a sense of ‘yin and yang’. One jacket is lighter and softer on the eye, while its counterpart is darker and more intimidating. Pieces like these recontextualise Schiaparelli within its roots in surrealism.
The models were otherworldly, with animal references blending into human forms, essentially creating a whole new being. There was a sense of mythology present throughout the collection, as well as a world being built for these creatures to exist. Beaks, scales and alligator prints contributed towards the animalic thread seen throughout the collection.
An explicit reference to animals was the ‘Isabella Blowfish’, paying homage to the fashion legend, Isabella Blow. Made impressively as a transparent suit, the look acts as a replica of the surface of a blowfish, with spikes not forgotten to be included. The suit has a menacing presence but draws one in to examine further the intense levels of craftsmanship which can be discovered in any of the looks presented.
Another standout was a gold beaded gown that had movement that can only be described as a feast for the eyes. Although having a more reserved silhouette than other looks within the collection, the way in which the dress flows emphasised the spectacle that can only be achieved through the devotion of couture.
For this collection, Roseberry admitted that he wanted to tap into anger more. Particularly, in a time where anger and frustration seem to flood the world we live in today. “How do I use anger?” he asked himself, and “Where is the joy of creation? Are these two things linked?” Roseberry wanted this collection to focus on feeling and how he felt putting these clothes together. Unlike previous collections, which he described as ‘vigorous and controlled,’ this time, what the clothes looked like came secondary to the feeling of creating them.
This concept was inspired by a visit to the Sistine Chapel and Roseberry's engagement with the work of Michelangelo. He credits Michelangelo for allowing viewers to feel art more and tried to adopt that through this collection. A collection like this demands to be felt. With haute couture at Schiaparelli in the hands of Roseberry, he continues to assert the huge importance of this fashion segment. What a pleasure it is to witness excellence shown continuously on the Schiaparelli catwalk. A clear reminder why haute couture needs to be protected.