Schiaparelli Spring/Summer 2025: Daniel Roseberry Blends Surrealism with Future Vintage

At the Place Vendôme, Schiaparelli's setting glowed bright blue as the crowd lit up with anticipation. The response is nothing new for Daniel Roseberry, the designer who used faux animal heads in dresses to reference Dante's Inferno, made a robot gem dress with a robotic baby to match, and keeps pushing the boundaries of fashion. Indeed, Spring/Summer 2025 – Future Vintage as he calls it – was no different. 

Once Mona Tougaard walked the runway in a white cinched mini dress with a knot that created a braid she held in her hand, followed by Kendall Jenner in a white pinched bodysuit with U-waist jeans, fashionistas worldwide and insiders alike knew Roseberry was about to pull off another show. 

A show he gave. Candice Swanepoel took the spotlight in a corseted denim dress that exuded both sophistication and a level of cool that only Schiaparelli could be responsible for. Swanepoel was followed by Brazilian supermodel Adriana Lima, who wore a tight black and white checked minidress with puffy sleeves. You could say an Angel meeting was in the making. 

The following looks were tighter, more sculptural, and even more surrealist. Zebra stripes and bright shades of red joined the show, combined with exquisite forms and gold chunky jewelry – a Schiaparelli’s classic. Of particular note is look 13, in which model Maggie Maurer – for many seen as one of Roseberry's many muses – wears a red corset dress in which the top is transparent and the skirt, long and opaque, forms a braid that the model holds with confidence. 

Summery, freshly printed suits gave way to beige, shiny, almost sand-like garments in various sizes and shapes. A gold dress with the classic Schiap keyhole graced the scene, followed by a turquoise textured set with a matching bag, chic scarf, quirky glasses, and trompe l'oeil leather shoes with a ring on it. More subtle shades of blue graced the runway, ranging from a fish-scale-esque dress to a transparent blue gown with a long braid and an opaque fresh blue number. Next came denim, with voluminous and bulky shapes, golden buttons and chains, or tightly waisted, as seen in the beige bustier dress modeled by Irina Shayk.  

Vibrant yellow looks ranged from chic black creations, and a trompe l'oeil knit dress and skirt nodded to Elsa Schiaparelli's whimsical codes. Schiaparelli was an illusionist – playing with trompe l'oeil and embracing surrealism like no one else –, a skill Daniel Roseberry still honors. But Roseberry doesn't throw everything she made directly on the runway. It's like he leaves Easter eggs in the creations to us, fashionistas, decode and see how a genius he is. And we can always see it. 

Because then the final looks were perfectly floral, coral-like embroidered dresses and blouses that once again demonstrated the immaculate designer's ability to translate couture to the everyday. The show notes might read, ''It's an amazing time to be small because it allows you to design with real purpose, and for us, purpose beats banality every time.'' But Daniel Roseberry's Schiaparelli is not small. Not small at all. It is something else, something that can be both future and vintage. Think of the power of that.