Daniel Roseberry’s SS24 collection stemmed from a story: iconic actor Marisa Berenson – granddaughter of Elsa Schiaparelli – remembers her grandmother admiring a friend’s sweater in 1927, tracking down the Armenian knitters who made it and commissioned an artistic iteration. “She specified should look like the primitive drawing of a child in prehistoric times,” Berenson recalled. The resulting item wowed customers and became a house signature, elevating conventional shapes into surrealist art.

Inside Hôtel de Boisgelin, an Italian embassy on Paris’ Rue de Varenne, the setting was awash with opulent Greco-Roman figures and characters from Commedia dell’arte (an early form of Italian comedy theatre). Subverting tradition and punctuating expectations with flourishes of the unexpected, simple ribbed dresses were adorned with brass nipples and peppered with strands of shimmering metallic, and eyewear was crafted with golden eyelashes. Crabs and fish skeletons hung over leather bodysuits, lobsters clung from ceramic chain necklaces and a giant fish swam up a black pencil skirt.

The contents of a woman’s bag spilt over an unassuming cotton dress – red lipsticks, cigarettes and nail polish cascading down the front. Dramatic silhouettes offered an air of opulent glamour and denim was fashioned into one of the fanciest Canadian tuxedos we’ve ever seen. Speaking on the collection, Roseberry said: “As we have to understand today, two things can be true at once. And so we have Schiaparelli ready to wear. Is it for the everyday and should it be, dare I say, ‘easy’? Yes.”