In Daniel Roseberry’s time at Schiaparelli, he has done something few designers have been able to accomplish as of late. He was recently awarded International Designer of the Year by the Council of Fashion Designers of America. Yet, his true accomplishment is his impeccable ability to bring the traditions of the House of Schiaparelli into the future. Almost instantly, his Schiaparelli was a hit and has left a mark on the fashion industry that has proved impossible to wash off. As creative directors and designers continue what feels like a never-ending game of musical chairs between brands, often leaving before it feels like they even got the chance to really dig in, Roseberry took the helm at Schiaparelli and quickly brought the house back to the forefront of fashion and creativity, and created a version of the brand that the industry and consumers alike just can’t get enough of.
After decades of designers attempting to bring Schiaparelli back to its prime under Elsa Schiaparelli’s guidance, Roseberry found a way to break through. Perhaps it’s his outsider perspective as a born and raised Texan now working in the heart of haute couture or his belief in the power of taking risks. With the growth of the internet and fast fashion’s quickening pace, luxury fashion has fallen victim to the allure of commercial success, of appealing to the masses rather than speaking directly to the hearts of true fashion lovers. Roseberry’s innovation and ability to break the mold does just this. His runways take the place of church, offering those who follow and religiously cherish fashion something to believe in.
Days after his CFDA award (and, no doubt, subsequent celebrations), he paid a visit to SCAD’s Savannah campus. In between student portfolio reviews, and what I can only imagine to be the most anticipated and attended masterclass in recent SCAD history, I had the honor of chatting with him about his journey as a creative, and his invaluable impact on the house of Schiaparelli’s ongoing legacy.
Flora Medina: Congratulations on your CFDA award. I watched your speech; it was really inspiring and so beautiful to hear you talk about Schiaparelli as this antidote for luxury as this mass concept. I really enjoyed hearing about your experience before you actually got appointed at Schiaparelli, sleeping on a mat in your friend’s apartment. That was so cool to hear because people don’t really talk about that—especially once they get into their career and they get past that first job—you don’t often hear about that still being a hurdle that people face. I was wondering if you could talk a little bit about how that experience has fueled your ambitions at Schiaparelli or if you have any advice for other creatives who may be in similar positions themselves right now.
Daniel Roseberry: Definitely. I would want everyone to know that starting is the hardest part. I think that I was so nervous to move to New York, I got in [to FIT], and I deferred three times because I was so scared of moving to the city, what it would mean, the industry, and what my place in the industry would be. As a student, I think that you’re just filled with anxiety and racked with fear about that—rightly so—because we’ve been taught that this industry is a scary place. But the thing is, it gets easier the more you do it. I think that it’s good to be freaked out, it’s good to be scared because it means you know what you’re getting yourself into, but after you begin, it gets easier. I hope that’s helpful, but it’s so much more scary before you actually start.
FM: I think that’s great advice, thank you. Obviously, Schiaparelli is a house with so much legacy and history to it, and I think that your specific vision for the house has done a really beautiful job of finding a balance between that sense of timelessness and this very real quality of newness and modernity. I was wondering how you found the balance between that history and innovation.
DR: That’s a great question. I think when I first started at Schiaparelli, I was very unclear of how to work with the archives and how to work with the heritage of the house. I think it took me a few seasons, but it really is something that you shouldn’t be afraid of. I love working for a house that has this kind of heritage, and one of the things that I have noticed with a lot of the students in presenting their work; there’s a lot of attention being paid to their personal story and their personal narrative, without putting it into the context of the greater story of fashion, which actually makes your personal narrative more powerful. I would say that to everybody, putting your own story and your own experience into the context of a bigger picture story, like the work of Elsa [Schiaparelli], or whatever designer you love, there’s power in that. And don’t be afraid to stand on the shoulders of those who came before us.
FM: That’s awesome. Speaking of the shoulders that came before us, you started your career at Thom Browne, you spent about ten years there before Schiaparelli. How do you think that experience working with fine, expert tailoring has shaped your practice at Schiaparelli?
DR: I think that if you can make a jacket, or you can understand what goes into a tailored jacket, you can kind of make anything. It’s like in life drawing; they say if you can draw a hand, you can draw anything. I think that going to a place like Thom Browne was so relieving for me, because as every young person who’s grappling with their identity at school and the expectations of your career, it is amazing to go to a company and try things out, make mistakes, learn on other people’s budget. It’s a whole thing, and I get so nervous when people start their own collection right out of school because you’re so vulnerable, and you’re not letting yourself make mistakes under the cover of someone else’s world, and vision, and budget. I think that’s an important thing. The other thing I would say is that there’s no rush. In your 20s, you move to New York, you do whatever, you build your life, you build your friendships. The moment you become a creative director, that goes away. The pressure is so intense you don’t get to leave and go f*ck off for the weekend, and that’s something you should enjoy in your 20s, and your however-long you do that. That’s the other thing; I’m really grateful for the relationships that I was able to build.
FM: That’s really awesome to hear. I have a couple of rapid-fire, either-or, questions for you.
DR: Let’s do it.
FM: I wanted to start by asking, Paris or New York?
DR: New York.
FM: Paris, Texas, or Paris, France?
DR: Paris, France, definitely.
FM: Dalí or Dolly Parton?
DR: Dolly Parton—well, the thing is, I love both, and I think that’s why being an American and working in Europe is the key. I love both. If you go to Paris, they might not appreciate Dolly Parton as much, but loving both is key.
FM: That’s awesome. Sharp shoulders or snatched waists?
DR: The combination of the two.
FM: Great answer. The Lobster Dress or the Zodiac Collection?
DR: Lobster. No, no, Zodiac. Sorry, no, not the Lobster Dress, not my favorite.
FM: Fair enough. My last question is, mermaid gowns or siren suits?
DR: I don’t like mermaid gowns as much, no, siren suits.
FM: Great answer again. Thank you so much.
DR: Thank you!
Words and Graphics by Flora Medina