Fashion Renaissance: Burton, Roseberry, and New Loewe Era
Sarah Burton is ushering in a new era of opulence and allure at Givenchy, a stark contrast to the more utilitarian styles of her predecessors. Her latest collection features dazzling rhinestone-embellished collars, luxurious marabou feathers, and a striking red leather cocktail dress. The iconic Naomi Campbell graced the runway in a tuxedo jacket worn open over a delicate lace bra, embodying Burton's vision of empowered sensuality.
Burton, who previously spent years as Alexander McQueen's right-hand, has rapidly redefined both the Givenchy brand and her own identity. While Givenchy boasts a rich heritage of Parisian and Hollywood glamour, it has historically been a smaller player in the business landscape. Burton's approach is a deliberate departure from the streetwear and metallic accents favored by recent designers, focusing instead on a return to timeless glamour.
"I wanted it to be erotic and sensual and to show skin," Burton explained backstage. She expressed a desire to explore female emotional intelligence and the nuances of dressing and undressing, moving beyond traditional masculine codes often used to convey female empowerment. This vision also includes subtle allure, as seen in an evening shirt crafted from soft white leather. Burton emphasizes inclusivity, stating, "Every woman is different. Sometimes when I'm casting, a model puts on an outfit and I can just tell that she doesn't want to wear a heel. So I change the look."
Givenchy is reclaiming its position as a significant force in red carpet fashion. Burton has recently styled Timothée Chalamet in a butter-yellow tuxedo for the Oscars and Kaia Gerber in a vintage-inspired black lace ballerina gown for the Venice Film Festival, showcasing the house's renewed emphasis on statement pieces.
Meanwhile, Schiaparelli, renowned for its surrealist artistry, is experiencing a renaissance under the direction of American designer Daniel Roseberry. The Victoria and Albert Museum in London is set to host a major exhibition next year dedicated to Elsa Schiaparelli and the house she founded, underscoring the brand's artistic significance.
Those who choose Schiaparelli understand that its creations are inherently art. Roseberry himself articulated this sentiment, stating, "You don't buy Schiaparelli, you collect Schiaparelli." This artistic positioning translates into commercial success, with garments commanding premium prices, often starting around £5,000 for jackets. The recent show was held at the Pompidou Centre in Paris, a venue soon to undergo a five-year renovation, further highlighting the house's close ties to the art world.
Roseberry has revisited iconic pieces from Schiaparelli's past, notably the 1938 "Tears" dress created in collaboration with Salvador Dalí, which will feature in the V&A exhibition. This collection aimed to reconnect with the brand's foundational principles. While Dalí's original "tears" were artfully painted onto fabric, Roseberry's contemporary interpretation features actual tears meticulously cut into the silk crepe, creating a powerful and unsettling visual akin to flayed flesh.
Schiaparelli's collections often possess an inherent edge, a blend of menace and playful wit. Elsa Schiaparelli famously referred to her mannequins as "toy soldiers" due to their sharp silhouettes. This spirit is evident in the brand's distinctive visual language, featuring buttons shaped like fingernails and gold noses as earrings. The recent show's standout piece was faux fur crafted entirely from paintbrushes, a surreal and delightful punchline.
Surrealism is a pervasive theme in contemporary fashion. Cracked-egg heels, playing on the idiom "walking on eggshells," proved immensely popular at Loewe, and Dali-esque distorted clocks have appeared on the Moschino catwalk. However, Schiaparelli remains the undisputed master of this aesthetic, with Roseberry presiding over it with undeniable authority.
Roseberry describes Schiaparelli garments as possessing "an extreme drama which suck the air out of the room." A standout red gown featured a triangular panel of flesh-toned mesh in place of traditional undergarments, creating a startling illusion of nudity. This constant interplay between wearability and theatrical spectacle is central to the Schiaparelli experience.
The fashion landscape has been enlivened by the arrival of new creative directors at prominent houses. Jack McCollough and Lazaro Hernandez, the founders of the influential Proenza Schouler, have taken the helm at Loewe, a Spanish leather goods house that has flourished into a major global brand under Jonathan Anderson's previous tenure.
The American designers appear to be relishing their new Parisian chapter. Their debut collection for Loewe introduced a vibrant pop art sensibility, infused with the art-world sophistication that has become synonymous with the brand. Playful elements, such as banana yellow loafers with tasseled embellishments reminiscent of Josephine Baker's iconic skirt, and a red peplum jacket with bold, curved lines evoking a ketchup bottle, added a joyful energy. A particularly clever cocktail dress, styled to resemble a towel wrapped after a shower, captured the perfect balance between ingenious design and lighthearted fashion.
