For its Haute Couture Fall/Winter 2026–2027 season, Schiaparelli unveiled The Call of the Void, a collection that reaffirmed Daniel Roseberry’s position as one of fashion’s most imaginative storytellers.
Continuing his exploration of the space between reality and fantasy, the Creative Director delivered a lineup that challenged conventional notions of couture while remaining deeply rooted in the surrealist spirit of the house.
The collection arrived following the success of Roseberry’s previous couture offering, The Agony and the Ecstasy. Reflecting on that achievement, the designer revealed that he briefly believed he had discovered a formula for creative success. Yet the attempt to replicate that process ultimately led him to a different conclusion: genuine creativity cannot be repeated or controlled. Instead, it emerges from uncertainty, intuition, and the willingness to venture beyond familiar territory.
This realization became the foundation of The Call of the Void, inspired by the French concept l’appel du vide — the inexplicable impulse that draws us toward the unknown rather than away from it. The idea feels particularly fitting for Schiaparelli, a house built upon Elsa Schiaparelli’s fascination with surrealism, contradiction, and the unexpected.
Throughout her career, Elsa embraced chance encounters and unconventional ideas, believing that the most powerful creative moments often arise when logic gives way to instinct. Roseberry’s latest collection channels that philosophy, presenting couture as an exercise in exploration rather than perfection.
One of the collection’s defining characteristics was its unconventional material palette. Rather than relying exclusively on the traditional fabrics associated with haute couture, Schiaparelli incorporated silicone, latex, and heat-treated paint into the collection, transforming industrial materials into luxurious, sculptural creations.
Far from appearing cold or artificial, these materials took on remarkably organic qualities. Silicone corsets replicated the softness and contours of the human body, while latex embellishments extended across garments like living forms emerging from the fabric itself. Layers of treated paint created textures reminiscent of shells, coral reefs, and mineral formations, reinforcing the collection’s dreamlike atmosphere.
Among the season’s standout looks was an ultra-realistic silicone corset rendered in a delicate milky blue tone, paired with a voluminous skirt decorated with hundreds of flowers crafted from stretched hosiery, wire, and pearls. The result existed somewhere between couture craftsmanship and contemporary sculpture, embodying the house’s longstanding dialogue between fashion and art.
Elsewhere, natural flowers, fish scales, and animated latex details appeared throughout the collection, creating silhouettes that felt as though they had emerged from a surreal underwater landscape. The garments possessed a sense of movement and transformation that blurred the distinction between clothing and living organisms.
The color palette further emphasized this connection to nature and marine life. Shades of lobster pink, luminous orange, soft mint green, and rich violet appeared throughout the collection, often contrasted against glossy black finishes and raw ecru tones. Together, the colors created a visual world that felt both fantastical and strangely familiar.
Gold, one of Schiaparelli’s most recognizable signatures, remained a central element of the collection. Sculptural golden details appeared on jackets, bodices, jewelry, and accessories, functioning as architectural features rather than simple embellishments and reinforcing the house’s distinctive aesthetic language.
Roseberry also revisited some of Schiaparelli’s most iconic house codes. The signature jacket returned in dramatic new interpretations enriched with intricate embroidery and elaborate ornamentation, transforming classic tailoring into wearable works of art.
The surrealist narrative continued through the accessories. New versions of the Secret bag featured crinoline-inspired structures and embroidered floral motifs, while the Bubble shoe was reimagined with silicone coverings that introduced a futuristic dimension. Jewelry designs drew inspiration from seashells, sea anemones, and octopus tentacles, extending the collection’s dialogue between nature and fantasy.
More than simply a couture presentation, The Call of the Void functions as a reflection on creativity itself. Roseberry uses fashion to examine humanity’s relationship with uncertainty and the necessity of relinquishing control in order to create something truly original.
Perhaps the collection’s greatest achievement lies in its treatment of unconventional materials. Silicone and latex are not employed merely for provocation or spectacle, but as legitimate tools for redefining luxury and expanding the vocabulary of haute couture.
While some pieces may feel closer to museum installations than traditional garments, that tension has always existed at the heart of Schiaparelli’s identity. The house has never sought to satisfy conventional tastes; instead, it has consistently challenged and reshaped them.
With The Call of the Void, Daniel Roseberry delivers more than a couture collection. He offers an artistic manifesto on risk, experimentation, and imagination, proving once again that haute couture remains one of fashion’s most powerful spaces for innovation and creative freedom.
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