Daniel Roseberry Unlocks the Enigma of "The Sphynx" for Schiaparelli's Fall/Winter 2026 Collection
The surrealist house delivers a masterclass in trompe l’oeil brilliance and impossible contradictions.
Summary
-
Arriving just three weeks before the V&A museum’s major retrospective on the house’s founder, Schiaparelli’s Fall/Winter 2026 collection, titled “The Sphynx,” explores the inherent paradoxes of the modern fashion industry
-
Creative Director Daniel Roseberry masterfully balances heritage codes with innovative techniques, introducing “impossible knitwear,” liquid plisse silk-blends, and trompe l’oeil silk wool that perfectly mimics fitted leather sheaths
-
The runway heavily expanded on the maison’s beloved surrealist iconography, debuting resin dog-and-cat accessories, bronze egret feet hardware, and a profound re-exploration of the signature keyhole motif
For Elsa Schiaparelli, a dress was never just a dress—it was a canvas for questioning the very medium of fashion itself. As the London V&A museum prepares to open its highly anticipated “Schiaparelli: Fashion Becomes Art” retrospective in just three weeks, Creative Director Daniel Roseberry is taking a moment to reflect on that radical legacy. With the Fall/Winter 2026 collection, titled “The Sphynx,” Roseberry brilliantly navigates the tension between the weight of a heritage house and the limitless potential of a dream factory.
At the heart of “The Sphynx” is the concept of the enigma. Drawing inspiration from the brand’s iconic keyhole motif, Roseberry posits that the shape is more than just pleasing hardware; it is a symbol of the ultimate mystery that is the modern woman. To externalize this mystery, the FW26 runway was built on a foundation of breathtaking contradictions and technical paradoxes, blurring the lines between what a garment appears to be and what it actually is.
This tension was brought to life through a series of mind-bending textile innovations. Roseberry introduced what he dubbed “impossible knitwear”—heavy, traditional Aran cable knits juxtaposed with delicate panels of illusion tulle, creating the surreal effect of thick wool effortlessly floating on the body. Pushing the boundaries of structure, liquid plisse silk-blend gowns were topped with clear lamination, projecting rigorous architectural shapes without the use of any actual boning. Further honoring the house’s long-standing love for trompe l’oeil, fitted, leather-effect sheaths were revealed to actually be printed silk wool, while high-performance stretch-jersey tops were seamlessly paired with airy, paillette-trimmed skirts.
Beyond the garments, Elsa’s famous love for the natural world and surrealist hardware found an expanded, wildly imaginative life in the accessories. The iconic measuring tape made a striking appearance on the classic stretch boiled wool Vendome jacket, intricately trimmed with dyed bugle beads. Meanwhile, the runway introduced a menagerie of new motifs: “fur”-trimmed jewelry crafted from thin sprigs of shearling, whimsical dog-and-cat shoes rendered entirely from resin and felt, and striking shearling bags anchored by cast-bronze egret feet.
Schiaparelli has always been radical, but as Roseberry proves with “The Sphynx,” it never has to be alienating. By creating clothes that allow women to feel alive with the dream of who they are—while remaining completely comfortable with who they actually are—the house proves that its hundred-year-old paradox is just as powerful today.
