Daniel Roseberry stared into the abyss and jumped. For this Schiaparelli couture collection, the designer grappled with his creative process and concluded that to push through to a place of true inspiration, he had to forget what had worked in the past and go somewhere new. Dubbing his collection “the call of the void,” he said, “the magic of creation can only be found in total surrender to the unknown.” For him that meant embracing synthetic materials and fabrications not usually found in haute couture. Instead of prizing the finest silks, satins, wools and leathers, Roseberry cast jackets and bustiers in milky, jelly-like silicone, which were then lit from within, casting an otherworldly radiance over the wearer. The designer worked on those pieces with a workshop in Paris that specialises in making ultra-realistic silicone babies for the film industry. A squid-like black latex jacket sprouted inflatable tentacles. Latex gills adorned a transparent top, and a translucent frilled rubber skirt was decorated with delicate petal embroidery.

Surprising materials were everywhere, as Roseberry relished challenging the couture norms. One dress bristled with curling tentacles made from crinoline webbing, whilst a skirt was encrusted with delicate flowers all made from hosiery material. Fish scales and real flowers were also used in the collection. But despite how new and unusual the materials, the polished perfection of the finished looks was pure couture.

It was wildly experimental, playful and a more than a little kinky (Allen Jones would approve of the moulded breasts of the bustiers). Roseberry’s show notes implored his audience to, “jump off with me into the bliss – of the abyss.” Wherever he goes they will follow, including Zendaya, who wore the closing look (a white silicone bustier with an iridescent light-up skirt) to The Odyssey premiere that same night.

Photography courtesy of Schiaparelli.

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