Schiaparelli SS27: Going Clear

For Spring/Summer 2027, Daniel Roseberry reimagines Schiaparelli’s surrealist codes through a more immediate and wearable lens.

There is always a certain tension at Schiaparelli between what belongs to reality and what belongs to fantasy. For Spring/Summer 2027, Daniel Roseberry does not resolve that tension; instead, he brings it closer to everyday life. Titled Going Clear, the collection explores the space between the extraordinary language of couture and the immediacy of ready-to-wear, asking how much surrealism can enter a wardrobe before it stops feeling wearable — and whether, at Schiaparelli, it ever should.

Schiaparelli SS27/ Editorial Reproduction

Presented beneath the Louvre in Paris, the setting immediately established a dialogue between history, art and contemporary spectacle. The atmosphere carried the energy of a nightclub rather than the restraint traditionally associated with a museum, creating an environment in which the clothes could move between culture and nightlife, sculpture and dressing. It was an appropriate setting for a collection concerned with transformation: Schiaparelli has always understood clothing as something capable of changing the way a body occupies a room.

Roseberry’s approach to SS27 is not about abandoning the codes of the house, but about loosening them. The sculptural Schiaparelli jacket, precise tailoring and distinctive jewellery remain fundamental, yet they are placed alongside pieces that feel more immediate: knitwear, fluid silhouettes, transparent elements and garments designed to move beyond the theatre of the runway. The result is a collection that understands ready-to-wear not as a reduction of couture, but as another way of extending its imagination.

This is where the collection becomes particularly interesting. Schiaparelli’s surrealism has never been subtle, but here it is often embedded within the construction of the garment rather than presented as pure spectacle. The body remains central, whether through exaggerated proportions, anatomical references or jewellery that transforms familiar parts of the silhouette into something almost alien. Gold, one of the house’s most recognisable visual signatures, continues to function almost architecturally, turning accessories into objects of desire as much as decoration.

Schiaparelli SS27/Editorial Reproduction

There is also an inherent confidence in making the familiar strange. A jacket is still a jacket, a dress is still a dress, but Roseberry approaches these forms with the instinct of a sculptor rather than simply that of a designer. Proportion becomes expressive; details become deliberately excessive; the boundary between ornament and anatomy begins to disappear. The clothes invite attention without necessarily asking for approval.

Perhaps this is what Going Clear ultimately suggests. In a fashion landscape increasingly fascinated by commerciality, recognisability and immediate desirability, Schiaparelli remains committed to the idea that ready-to-wear can still possess a sense of fantasy. Wearability does not have to mean neutrality. Practicality does not have to eliminate emotion.

SS27 therefore feels less like a departure from the Schiaparelli universe than an expansion of it. Couture remains present in the construction, the craftsmanship and the attitude, but its language is allowed to enter the street, the night and the everyday wardrobe. Roseberry understands that the most compelling luxury is not always the piece reserved for a special occasion. Sometimes it is the garment that makes an ordinary moment feel entirely unreal.

And perhaps that is the clearest expression of Schiaparelli today: clothing that does not simply dress the body, but alters its presence.