Schiaparelli: How Surreal Fashion Rose to Viral Fame | V&A Exhibition 2024
The V&A Museum’s new exhibition dedicated to Elsa Schiaparelli isn’t just a retrospective of a groundbreaking designer; it’s a testament to the enduring power of capturing the cultural zeitgeist. As evidenced by the continued success of Schiaparelli under Daniel Roseberry, the brand’s ability to generate viral moments – from Kylie Jenner’s lion-headed gown at Paris Fashion Week in to more recent anatomical creations – demonstrates a lineage of image-making that transcends generations.
Schiaparelli’s influence, often overshadowed by contemporaries like Chanel, Balenciaga, and Dior, is now firmly in the spotlight. The exhibition, the UK’s first major retrospective of her perform, aims to position Schiaparelli not merely as a couturier, but as an artist and cultural impresario. “She was a fine designer but a great self-publicist and promoter,” explains Sonnet Stanfill, the V&A’s senior fashion curator. “She knew flagging that she worked with Jean Cocteau would get publicity. One of the best ways to get eyeballs on your work was to work with artists and cinema and theatre because of the audiences. It was the social media equivalent of her time.”
The exhibition features around 400 objects, including paintings, sculpture, and furniture, showcasing Schiaparelli’s collaborative spirit. While the now-iconic lion dress worn by Jenner isn’t physically present, the exhibition highlights the surrealist aesthetic that defined her work, exemplified by pieces created in partnership with Salvador Dalí, such as the skeleton dress and a hat resembling an upside-down shoe, both dating back to the late s. These collaborations weren’t simply stylistic choices; they were strategic moves to broaden reach and generate buzz.
This understanding of the “attention economy,” as Stanfill terms it, is a key takeaway. The museum initially conceived the idea for the exhibition in , but the full extent of Schiaparelli’s modern resonance wasn’t fully apparent until Roseberry began to skillfully leverage the internet and celebrity culture. “The way Roseberry’s work cuts through the culture as Elsa’s did shows just how uncannily they both mastered capturing the attention economy in their own time.”
Roseberry’s approach has been marked by a series of high-profile red carpet moments. Bella Hadid’s lung-shaped necklace at Cannes in , and Teyana Taylor’s crystal thong dress at the Golden Globes are prime examples. The brand is poised to continue this trend, with several nominees expected to wear Schiaparelli to the upcoming Oscars ceremony.
The success of Schiaparelli, both historically and presently, hinges on a delicate balance between wit and wearability. “We endeavor to walk a fine line between humour and camp,” Roseberry notes, referencing the brand’s latest accessory – a glittery robot baby. This playful approach, combined with a commitment to craftsmanship, has allowed Schiaparelli to remain relevant and desirable.
The V&A hopes the Schiaparelli exhibition will draw similar crowds to its Dior retrospective, which attracted over half a million visitors. The timing is strategic, coinciding with a period of heightened awareness and appreciation for the brand’s unique aesthetic. Elsa Schiaparelli herself died in , but her legacy continues to inspire and influence contemporary designers.
Roseberry’s autumn/winter collection, unveiled on Thursday evening, directly engaged with Schiaparelli’s signature surrealism. The collection featured trompe l’oeil effects, “impossible knitwear” combining Aran knits with tulle, and anatomical hardware – a recurring motif widely copied in the high street. The designer’s involvement in the exhibition stemmed from a desire to understand the historical context of the brand, but also to acknowledge the enduring influence of Schiaparelli on designers like Martin Margiela, Rei Kawakubo, and Azzedine Alaïa.
“Her contribution has been echoing through other people’s work for years,” Roseberry explains. “Whether that’s Martin Margiela, Rei Kawakubo or Azzedine Alaïa. All these designers have been sort of carrying that torch on her behalf.” Stanfill echoes this sentiment, emphasizing that Schiaparelli’s designs were not only innovative but also surprisingly wearable, often featuring a subtle, unexpected detail. The V&A’s exhibition promises to be a comprehensive exploration of a designer who understood the power of image-making long before the age of social media, and whose influence continues to resonate in the world of fashion today.