- Iris, you can see?
Okay.
[calm uplifting music]
Hi Vogue.
It's Daniel Roseberry from Schiaparelli reporting
to you live from freezing cold and extremely gray Paris.
We've got six days before the show and you are joining me
on my walk to work.
This walk to work from the seventh to the Place Vendome
takes us across the Seine,
through the Tuileries and it's really like
my creative space.
[soft pensive music]
What I try and do on the walks
is kind of put myself into a space
where you can kind of have these freeform associations.
That always happens for me when I'm in movement,
whether I'm walking, on a plane,
and trains are amazing for that, and music for sure.
I would be nowhere without my soundtracks
and my, you know, my pop music.
I like to play with things that I loved as a kid.
What it was like to be a kid growing up
in the 90s in the United States feels really
interesting when it's mixed with the grandness
and the extravagance of haute couture on the Place Vendome.
Actually, there's a statue over there from 1932
and I want to show you.
It's by Gaston Lachaise.
It's called Standing Woman.
Ever since I saw her, she's been haunting me.
She's an important part, both of my walk to work
and of the next season.
So this is the view that makes you stand
up a little bit straighter when you see it
and it's a good reminder of where we are.
Everything is super intense right now.
We've got fittings, we've got approvals,
making sure everything is en pointe as they say.
We're the only couture salon
in the world who makes the couture on the Place.
So it's a wild privilege for a boy
from Plano to be working on the Place Vendome, so let's go.
[soft strings music]
Okay, so,
second coffee of the day.
On our way to my office
on the right side is the Place Vendome.
And on the left side, as you can see here,
is the entire ready-to-wear collection.
So here we are in my office, if you can believe it.
This morning I have two more gowns to launch.
So we've got six days and I have to do two gowns
that can be made in six days.
It's not ideal.
We've got the foundation.
So first I'm gonna go here.
This is my, like, box of secrets, this closet,
which is not exactly organized
but these are my favorites here.
Mechanical pencils and mostly pens, to be honest,
because it's a sketch for the atelier,
I like to keep it quite loose, actually.
I always start by the face and a big [speaks French].
The last look is gonna be a really simple bustier.
We're going to drape this sort of sarong.
This to me, it's almost like when you close your eyes
and you imagine what a couture gown
from the 50s looks like.
To make it a bit of Schiaparelli,
we're gonna add some hand painting here to the torso.
So this is gonna be velvet that's hand painted in gold leaf.
[soft quirky music]
I had a pen in my hand apparently before I could talk.
So it's just such a comfortable place for me.
Definitely I would not have this job
if I didn't know how to communicate an idea visually
and that all comes back to drawing.
Now that I've got the dresses prepped for handoff,
we're gonna go to the studio,
but first I need another coffee.
So there's a coffee shop down the street.
It's one of the only places in Paris
that does a real iced coffee, like New York style.
So let's go get a coffee.
I would say [speaks French].
I just got a call from the team.
We're ready to fit the sculpture piece
which was inspired by the Lachaise Standing Woman
in the Tuilerie.
This guy who's built this structure for us
is in his late 70s and he's just one of the
one of the great honors of the job is working
with artisans who are like, they're truly artists.
So I'm gonna do an iced Americano.
- Yeah. - Extra ice.
- Sure. - And then, I guess
one of each of, one of each of these.
Thank you.
Even though it's cold outside,
my Thom Brown days were dominated
by lots of cigarettes and iced coffee
and I gave up the cigarettes, kept the iced coffee.
My mom has been to every single show that I've done
since Thom Brown started showing in Paris.
So she's like beloved by the team and my dad too.
But we all know mom is the star of the show.
[vibrant piano music]
We're going to the tailoring atelier.
At this point in the season, I'm coming down here,
I would say almost daily,
just to make sure everything's going [clicks tongue].
Coucou.
- Coucou. - Bonjour.
- Hello. Can we see a trial then of this direction,
so it's the light side?
We need to see what the brilliant side looks
like with the two cuts.
[groovy music]
I mean, I think that the point of couture
other than telling the story
about your imagination or your concept is to
also highlight the strength of the atelier.
And so now the beauty is that I know
these guys really well at this point.
So it's almost like creating shapes
and concepts specifically for their hand.
[groovy music]
We are about to start
one of our last fittings for this piece.
We're gonna be fitting the sculpture inspired
by the one that we saw in the Tuileries.
These are what I've been staring at for, I don't know,
the past seven or eight weeks.
Every look is its own story.
So it's has its own concept,
its own creative intent, basically.
And that's what this board is about.
So the animals are gonna be, I think, the loudest part
of the collection.
As we did with the flowers last season,
we've tried to create photorealistic embroidered animals.
A lot of the characters in the collection
were inspired by Dante's Inferno.
There are three animals that Dante encounters
and it's a lion, a leopard, and a she wolf.
They are gonna be really wild.
It's just this kind of ambition that we have
that I have to truly try and innovate.
I'm an American.
I'm from Texas.
The opportunity feels so unreal that I can't help myself
but come here and give everything I have.
Otherwise, I feel like I'm betraying the beauty
of the opportunity in a way.
Monsieur Carel, this is who I was talking about earlier.
He's created this incredible sculpture for us.
Before we even start with the bust,
regarding the skirt, it looks quite tight.
- [Employee] It's blocked by the jacket.
- Here especially, the back looks gorgeous, though.
- Bonjour. - Bonjour.
- Iris, you can see?
Okay.
I don't even know how many times we've fit this,
probably six times, something like that
to get something that felt perfectly easy for the wearer.
I think we've all been very aware
that this look was gonna be very
it's all about if it looks both easy for her
because we don't want her to be struggling inside.
But also kind of surreal in the proportions.
In the inferno there is a giant,
so it was the perfect excuse to do
the Lachaise woman for the runway.
The profile of her sitting down here.
It's so perfect.
Wow.
It's unbelievable.
So the only thing I'll say about the Patina
is that I just don't want it to get less shiny, right?
A little bit of a degrade, not degrade,
but some emphasizing certain shapes.
Very, very faint.
But maybe we should, we should start that.
[uplifting music]
So look 28 was inspired by this image
but more this idea of doing angel wings.
Wow.
Angel wings, but simplifying them
to the most kind of pure line.
And then having the fringe vibrate.
It's absolutely gorgeous, Christian.
The embroidery is inspired by a scene in Casablanca.
So we call this dress the Casablanca dress.
We've tried to reduce all of the silhouettes
to things that made it easy to walk in, easy to move in
but that had this extremely sharp, angelic neckline.
- It's a bit heavy, but it's like super fitted,
so super comfortable.
[uplifting music]
- It's gonna be a long night.
We've got more fittings to do,
more approvals and more sign offs.
Thank you for spending the day with me.
I hope you feel inspired.
I'm so excited to share this collection with everyone.
And I hope most of all that you got to see
a bit more of the genius of the creators
who are making this collection for Schiaparelli.
It is as much their collection as it is mine.
Bye Vogue, thank you.
[upbeat pop music]
[amplifier disconnects]