Schiaparelli: a surrealist revival that redefines fashion’s boundaries

The Victoria & Albert Museum’s exhibition, Schiaparelli: Fashion Becomes Art, isn’t merely a retrospective; it’s a revelation. Stepping into the space is akin to entering Elsa Schiaparelli’s own vibrant, chaotic salon – a place where couture and the absurd danced a provocative tango. Forget the polite whispers of traditional Fashion houses; this is a defiant, intellectually stimulating experience.

The architect of surrealist style

While contemporary designer Daniel Roseberry has brilliantly revived the Schiaparelli name, this exhibition rightfully focuses on the singular vision of Elsa herself. You’re immediately greeted by a life-sized portrait of Schiaparelli in her 21 Place Vendôme salon, a clever tableau that introduces the context of her innovative era. Newspaper clippings from 1935 proclaiming her groundbreaking designs adorn the walls – a testament to her immediate impact on the Fashion landscape.

One piece in particular stops you in your tracks: a dress created for actress Ruth Ford. Constructed from black jersey, it’s shockingly modern, with padded bone formations extending from the arms and neck—an ingenious interpretation of sketches by her friend, Salvador Dalí. Dalí’s words, “Dear Elsa, I like this idea of ‘bones on the outside’ enormously,” perfectly encapsulate the collaborative spirit that fueled Schiaparelli's most iconic creations. The exhibition’s thoughtful design allows for a second viewing of this dress, revealing the same skeletal structure subtly echoing from the back—a clever reveal that underscores its architectural brilliance.

Ruth Ford, a figure as striking as the garments she wore, became a muse, accumulating several Schiaparelli pieces thanks to the patronage of Edward James. Their collaboration produced the haunting