Schiaparelli: Fashion Becomes Art is the first UK exhibition dedicated to the history and creations of Elsa Schiaparelli and how her legacy survives in the modern brand today. Schiaparelli continues as a Parisian fashion house currently lead under the creative direction of Daniel Roseberry. As holders of the infamous Haute Couture accreditation, Schiaparelli is consistently at the forefront of Paris Fashion Weeks dazzling and shocking aficionados across the world.
I’ve been a lover of whimsical (and perhaps eccentric) designs since I was a teenager and discovered Lulu Guinness. The English fashion and accessories designer is famed for her signature red lips clutch and I’ve been collecting collaborations of hers (Tangle Teezer, Vaseline & Waitrose) over the years, trying to get close to the real thing. So when Schiaparelli stumbled onto my doorstep featuring surrealist motifs of eyes and noses, I was sure to fall in love. These themes feature both in couture and ready to wear and have done so since the fashion house’s early years. I love their playfulness and how these ideas have been incorporated across different collections, sometimes in smaller details like buttons or as larger embellishments.
My first impression of Schiaparelli was Doja Cat in January 2023, standing on the steps of Le Petit Palais shimmering in thousands of blood red crystals – with most of them on her rather than on the dress. It was unforgettable to say the least, and unfamiliar with the house, I flicked through all the looks from the show, and was awed. I would argue that the most memorable looks from the show feature the (fake) heads of big cats jutting out from otherwise classic dress silhouettes. But look no. 22 was my favourite – a sculptured bodice that almost resembled peacock feathers, snaked up in front of the model’s face. The jewel tones with gold branches established me as a firm fan from that moment and now I tune into every collection.
To spend the afternoon wandering around the exhibit and its collection of beautiful and thoughtful things was a dream come true. My knowledge of Schiaparelli as a fashion house was limited to the recent collections from Roseberry and I knew very little about the founder herself. I wanted to learn her story and pay homage to her original ideas and observe how they have since evolved. I would consider my museum pose mastered by now, donning my reading glasses, clasping my hands behind my back and resembling the most pensive of grandfathers.
The exhibition started with a splash and opened with the Skeleton Dress from 1938 created as a collaboration between Schiaparelli and Dalí. We then moved to the beginning of Elsa’s career and knitwear pieces from her first collection in 1927 designed for sporty women (can’t relate). From there we were taken through rooms of evening coats and day suits in Harlequin, newspaper prints and tweeds. From the very beginning you can see her affection for bold prints but apparently it was the trousers that made her a radical designer?!
I was aware of the premises that Maison Schiaparelli held at Place Vendôme but completely oblivious to the fact that they had been there for almost a century. To think I’d walked past and was unaware of the history lingering behind the doors. Did you know the signature Shocking Pink colour that is synonomous to the house was from Elsa Schiaparelli herself in 1937? The exhibition presented a suit in the infamous colour amongst others of black no doubt recreating the original contrasting effect from the 20th Century.
Being an recent fan from the past few years, I enjoyed learning about Elsa Schiaparelli and how she pushed woman’s fashion pre and post WWII. It was demonstrated how Roseberry utilises her motifs as well as his own upbringing to bring this iconic house into the 21st Century. One of my favourite examples of this was the opening look from A/W 2024 where the model was almost entirely draped in a cape of silver feathers. Later in the exhibit we see a green feathered bolero by Schiaparelli from 1931. Similar idea but entirely different interpretations.
I spent a lot of the exhibition taking photos of buttons. There were tambourines acrobats and carrots featured in different collections from the 1930s and 40s. You can imagine my delight in the Bijou room to find a further cabinet full of them. Lusting over earrings, cuffs and bags featuring eyes and keyholes that are dripping in gold. I alsoreally appreciated the exhibit’s inclusion of recent invitations to the fashion shows, they are beautiful objects in themselves.
I would like to note that in the couple of days after I visited the exhibition, Schiaparelli debuted their S/S ’27 collection and revived the aforementioned vegetable buttons in an evening jacket.
The exhibition did a wonderful job of not only highlighting Schiaparelli’s beautiful clothes but how she was a part of the Surrealist art movement. How she made and collaborated with friends and carved out space for women to be bold. Alongside the garments were some of the sketches and paintings that inspired her. One of my favourite parts was a video that highlighted some of her most notable clients. Amongst them were photographers, models and socialites all dressed fabulously in the distinct style. I love that these women went back to Schiaparelli time and time again for new pieces and developed friendships. I wish I could have been one of them.
The museum was incredibly thoughtful when putting together a cohesive exhibition space. A golden wall engraved with iconic pieces and the brand name welcomed you in, there was no mistaking if you were in the right place. One moment you were reading about a fur teacup, the next you’re standing in a room covered wall to wall with fur. Even the keyhole motif was dotted around in the different rooms. It was all incredibly detailed without overwhelming the objects of the exhibition. Shadows were cast in an alluring way and display cases in between rooms meant that you could view pieces such as the Shoe Hat (another Dalí collaboration) or beaded veil from all angles.
As I live in Edinburgh, a trip to London to visit the V&A in Kensington was not a spontaneous thing and I’m so glad I made time for myself to go. I would’ve likely gone back time and time again if I lived a little closer just to be near some of those dresses. The exhibition book is my reminder that it was all real and serves as inspiration every day. Perhaps one day I’ll be lucky enough to own something designed by Maison Schiaparelli. It could be the,’ mini nose bag,’ that features on my dream wish list or it could be a piece that hasn’t even been designed yet. That’s one of the fun things about fashion, you’re often looking to what’s coming next.
Becca x
If you are able, I cannot recommend a visit to the exhibition yourself. It is running at the V&A in South Kensington until the 15th of November, 2026. I would also like to thank my friend Sophie who very kindly took me around the exhibition with her V&A membership and was patient with me as a gawked at every single thing.
The photos used from Schiaparelli’s Spring Couture show are not mine. Credit is given in the caption. All other photos are mine.
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