PARIS (AP) — Under the gilded ceilings of the Petit Palais, Schiaparelli opened Paris Couture Week with a dazzling spectacle titled “Icarus.” Gleaming gold talismans, envisioned as gleaming suns, lined the runway — a nod to the myth of the boy who flew riskily too close to the sun.
The collection embodied themes of risk-taking by subverting classic couture codes, daring to push boundaries. Unlike Icarus, however, this collection did not fall; it soared.
Celebrities and risk-taking at Paris couture
Carla Bruni-Sarkozy, Marisa Berenson and Kelly Rutherford watched Kendall Jenner and other models walk with stately grace, deliberately evoking old-school couture shows’ slow pacing.
This traditional presentation style was mirrored in the soundtrack, which blended romantic melodies with George Michael’s (asterisk)Father Figure(asterisk) — a fusion of classic romance and contemporary edge. This duality was reflected in the collection itself: traditional couture techniques and silhouettes were funked up with daring, avant-garde twists.
The Looks: subversive elegance
Daniel Roseberry’s Icarus reimagined traditional couture codes with a provocative edge. Inspired by vintage ribbons, he turned soft hues like butter, saffron and “toast” brown into bold baroque silhouettes that disrupted tradition.
Feather accents, typically ethereal, became sculptural and dramatic, while embroidered corsets — traditionally symbols of refinement and restriction —featured whimsical rosettes made out of resin, a material more often associated with industrial design. This unexpected choice questioned the seriousness often tied to couture.
Standout pieces included a lace bustier gown with an absinthe green bow-front skirt. Sharp, sculpted hips added architectural structure to flowing gowns. Critics who have noted Roseberry’s past reliance on theatrics may praise this collection for focusing on craftsmanship.
The collection’s balance between wearability and whimsy — something critics have praised Roseberry’s for — was particularly evident here, making Icarus a testament to the evolution of couture itself.
Theme of the show: ambition and reinvention
Fall’s Icarus reflected the duality of ambition — the pursuit of greatness and the inherent risks. The gold talismans lining the runway — that had visible cracks across the gold surface — symbolized the sun that brought Icarus down, a metaphor for haute couture’s relentless quest for perfection.
This theme also paid homage to Elsa Schiaparelli, herself a visionary risk-taker who revolutionized fashion by subverting traditional norms. Collaborating with Salvador Dalí, she created iconic designs such as the lobster dress, placed a painted lobster — a symbol often associated with decadence, luxury, and even sexual innuendo — on a refined silk evening gown, blending high fashion with humor and subversion.
By introducing a motif traditionally considered absurd into an elegant garment, Schiaparelli disrupted the seriousness of couture and sparked conversation about fashion as a form of art and commentary.
Roseberry’s experimentation echoed Elsa’s legacy.
Seen and heard: subtle drama
The audience buzzed with the show’s restrained theatrics, a departure from viral moments like taxidermy animal heads or the unforgettable sight of Doja Cat covered head-to-toe in red paint and 30,000 crystals.
This more measured approach allowed the designs to take center stage.
“Previous seasons were pure spectacle — this felt more focused,” murmured one guest, reflecting on the contrast.
Roseberry reflected on the essence of couture: “Haute couture is by definition a quest for perfection. … It promises escape from our complicated reality and reminds us that perfection comes at a price.”
Roseberry also emphasized his ambition to bridge nostalgia with innovation. “I wanted people to feel the collection was referencing a different time,” he said.
On the collection’s theme, he added, “Icarus is about ambition — creative, bold, and risky. It’s about how far we can push without losing ourselves.”
