In 2026, the brooch sits comfortably in the category of accessories no one under the age of seventy actively thinks about. The only remaining enthusiasts seem to be those impeccably dressed, old-world grandmothers you photograph on the street like a rare species, and Daniel Roseberry. Elsa Schiaparelli, of course, had a weakness for that sort of thing. Those surreal little Schiap buttons collectors lose their minds over were designed by Alberto Giacometti, who once gifted her a brooch called ‘The Sphynx’. Guess what Roseberry’s Fall 2026 collection was named after. “This chimera — half-person, half-animal — speaks to the sort of contradictory thing inside of you, inside of me, inside of the brand as well,” the creative told WWD.
Daniel Roseberry has a knack for temporal tourism. His collections constantly drag us back decades, sometimes centuries, through clothing alone. This time, even the venue wasn’t allowed to stay in the present. The maison’s invitation, topped off with a gold ring in the shape of an actual finger, led straight to Carrousel du Louvre. The ultimate spot if you wanted to relive Parisian runways of the ’90s and early ’00s, podium and all.
What would Schiaparelli be without contrast, illusion, and a healthy obsession with the natural world? Luckily, we’ll never have to find out. Picture trompe-l’oeil denim that looks exactly like fur, knitted panels cut like puzzle pieces hovering on the body thanks to tulle, and jersey manipulated enough to create depth. One look toward the end glittered entirely too much, turns out it was made from crushed CDs and cassette tapes. Accessories returned with a sense of order. Elsa’s iconic keyhole popped up on blazer labels, bags, and jewelry, keeping at least one foot in reality. The shoes, however, were having none of it. Roseberry took ‘kitten heels’ a little too literal, crowning pumps with full-on cat and dog faces. As realistic as they looked, no animals were harmed. Resin, on the other hand, had some rough days at the atelier.
