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Did you hear? Schiaparelli opened Paris Haute Couture Week with a pulse—a mechanical, rhinestone-studded heart throbbing against a scarlet bodice. Inspired by Salvador Dalí’s 1953 The Royal Heart, Daniel Roseberry’s version reimagines surrealism not as a quaint footnote of fashion history but as something living, breathing, and quite possibly sentient.
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At the center of it all was the dress—a crimson vision of satin and spectacle, with a faux décolletage adorned by that pulsating organ, exposed like a scene from couture surgery. The sculpted-science experiment gown took surrealism and spun it into motion, challenging the notion of what a body, a dress, or even a heart can be. On the reverse: a trompe-l’oeil torso rendered in red satin, nipples and all, as though the model had been reversed in time and anatomy. It was unsettling, arresting, unignorably Schiaparelli.
Back to the Future With a Pulse
The rest of Back to the Future offered a revisionist history of elegance, stripped of screens and artificial intelligence and rewired through the house’s surrealist legacy. Conceived entirely in black and white, the collection blurred past and future with delicious confusion. Was this pre-war Paris or post-everything Earth? It didn’t matter. The ambiguity was the point. Elsa Schiaparelli once asked whether fashion could be art—Roseberry’s answer is yes, but only if the art blinks back.
Gone were the corsets. In their place, silhouettes shaped the body with an uncanny precision—waists and hips emphasized through tailoring trickery, not constraint. The iconic house codes were rendered in near-invisible details: keyholes and anatomical motifs tucked into ceramic closures, hidden like fossils in fabric.
Despite its philosophical weight, Back to the Future never took itself too seriously. A jacket shaped like a question mark. A cape exploding into a solar flare of diamanté. A dress with a painted iris encased in resin, complete with metallic lashes and a trail of silk tulle. Even the accessories winked at Roseberry’s surrealist obsessions: parasols like puffed clouds, bags like optical illusions, shoes as sculptural riddles.
Daniel Roseberry is not afraid to look backward. But he doesn’t linger. He raids the archive, steals the best bits, and sets them spinning forward, refracted through a cracked mirror. Back to the Future is a collection about resurrection—with sequins, with structure, with a heartbeat you can actually hear.
Photos: SCHIAPARELLI
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