In a world where creativity guides every decision, the House of Schiaparelli continues to establish itself as an essential reference point for ultra-luxury and artistic innovation. Driven by the vision of Delphine Bellini and the creative audacity of Daniel Roseberry, Schiaparelli celebrates its milestones through landmark fashion shows, collaborations with global icons, and the opening of new emblematic spaces. This article looks back at 2025, a year rich in prestigious events for the renowned house founded by Elsa Schiaparelli, and unveils the strategic and artistic ambitions shaping the future of this legendary brand, a blend of heritage, modernity, and exclusivity.

The French Touch: What were the highlights for Schiaparelli in 2025? And what are your next major deadlines?

Delphine Bellini: As with many fashion houses, the year was punctuated by numerous highlights. The haute couture and ready-to-wear shows are obviously key moments. These are interspersed with other significant events, notably the presence of major artists and celebrities at our shows or whom we support during pivotal moments in their careers. This was the case this year for Beyoncé at the Grammy Awards and during her Cowboy Carter Tour, Ariana Grande at the Oscars, and Dua Lipa during her Radical Optimism Tour.

The opening of new points of sale also marks significant moments, even though we open few in order to cultivate scarcity and exclusivity. In 2025, we inaugurated a new 250m² space at Harrods (the iconic luxury department store located on Brompton Road in London's upscale Knightsbridge district), much larger than our previous one. We also opened a boutique in Monaco; the pop-up space we experimented with in the courtyard of the Hôtel de Paris during the Paris Olympic Games was very successful, so we decided to stay. Finally, we opened a private lounge in Dubai, at the Mandarin Oriental Jumeira Hotel, which has become our home there.

Other moments are dedicated to more intimate celebrations with our teams, our staff or our suppliers, such as during the last week of Haute Couture where we brought the latter together to present the collection and the fruit of their labor, of which they usually only witness a small part.

We are currently working on the January Haute Couture collection, the prêt-à-porter In March, we announced new store openings, including a larger space at Bergdorf Goodman (the iconic luxury department store on Fifth Avenue in New York). We also have a project in Asia… In July, we also announced an exhibition whose origins date back to 2022, when we exhibited at the Musée des Arts Décoratifs in Paris. It is scheduled for March 2026 and will be held at the Victoria & Albert Museum in London (located in South Kensington; the V&A is the world's largest museum dedicated to decorative arts, applied arts, and design). It will cover the history of the house, from Elsa Schiaparelli's creations in the 1920s to the current designs of our artistic director, Daniel Roseberry, featuring archival clothing, photographs, and more.

Ariana Grande's live performance at the 97th Academy Awards. (Photo by Kevin Winter/Getty Images)

FT: What is your strategic and business vision for the company, in relation to the artistic direction of Daniel Roseberry and following the artistic and cultural heritage of your house?

DB: When Diego Della Valle, an Italian entrepreneur and businessman, bought Elsa Schiaparelli's house in 2006, he had a specific objective: to revive this legendary brand, to create dreams with an ultra-luxury positioning and a strong imagination like its founder cultivated, with a constant concern for customers to offer them extraordinary moments and emotions.

Since Daniel Roseberry took over as artistic director in 2019, we have sought to maintain exclusivity by giving ample room to creativity, affirming the house's Haute Couture expertise, and also developing ready-to-wear and accessories lines with high-value, limited-edition products to preserve their scarcity. Daniel Roseberry's world and couture offer us an extraordinary playground for translating these creative directions.

On the retail side, we are working on a very targeted expansion: a limited number of boutiques, and only in prestigious locations. We also intend to strengthen our heritage, promote craftsmanship, and highlight the "Made in France" and "Made in Italy" labels, cultivating the House's unique identity through its historic salons on Place Vendôme and its still-operating Haute Couture ateliers. Furthermore, we aim to perpetuate the House's visual legacy through signature products and authentic, rich storytelling, offering a distinctive brand experience.

FT: From a business perspective, what does your second London location at Harrods represent?

DB: London occupies a strategic position in the global luxury market. It is both a cultural showcase and a laboratory of innovation, as well as an international hub that attracts a clientele from Europe, America, the Middle East, and Asia. It is an essential cultural and creative ecosystem, on par with Paris but with notable differences and cultural institutions such as the V&A, Tate Modern, and the Design Museum, which also contribute to the cultural recognition of luxury brands.

It's also a capital of experimental creation, as evidenced by schools like Central Saint Martins and the Royal College of Art, where numerous talents are trained. There's a free, avant-garde, and cross-disciplinary energy there that values ​​audacity, eccentricity, and conceptual creativity. London also offers a halo effect, global visibility through the Anglo-Saxon press, which is very valuable. All of this makes London not just a priority, but an essential element in our strategy.
More specifically, at Harrods, for a brand like ours, it represents much more than just a department store; it's a platform for influence, a place for customer experience, a showcase for innovation and storytelling. We opened our first boutique there in January 2023 within the Superbrands area, dedicated to luxury brands. Then, in a short time, strong performance, the brand's potential, and close collaboration with the department store allowed us to move into this new 250m² space where we envisioned an immersive boutique concept. Daniel Roseberry designed a Parisian apartment that incorporates the brand's surrealist style and offers a truly memorable customer experience.

Schiaparelli, Harrods, London

FT: What other international markets do you want to strengthen? The Middle Eastern market, with Dubai?

DB: As we know, the Middle East, and Asia in particular, are powerful drivers of growth and desirability in the luxury sector. These markets offer clients who fundamentally appreciate craftsmanship and bespoke services, and who have a keen appreciation for rarity. Furthermore, these regions offer infrastructure perfectly suited to experiential luxury, as well as the cultural recognition necessary to establish sustainable development in this ultra-luxury segment in which we operate. All of this aligns perfectly with our core values.

FT: Your fashion house has always drawn its inspiration from art, primarily surrealism. What synergies do you see between the haute couture sector and other sectors of the creative industries? What collaborations with other fields would you like to establish or strengthen?

DB: Haute Couture feeds images, symbols, and expertise to the fields of art, film, music, theater, opera, entertainment, architecture, design, and even digital media. It nourishes countless imaginations, and in this sense, I believe it is today the beating heart of the creative industries: Haute Couture brands create visual icons, and in turn, the images produced by these worlds amplify their emotional and commercial reach. This also allows us to remain relevant and drives us to innovate: these synergies between these worlds exist because they nourish one another, affirming both their cultural and emotional dimensions, and encouraging fashion houses to be true laboratories of experimentation where we can try out new technologies such as artificial intelligence, 3D printing, smart fabrics, or augmented reality—practices we can borrow from other fields, from industrial design to video games. We remain in a state of constant exploration.

FT: The luxury market is experiencing turbulence. What are the main challenges faced in the ultra-luxury sector, and how are you responding to them?

DB: The market is indeed very tight. At Schiaparelli, we have chosen a particular positioning, and ultimately, we respond to it with a form of radicalism: we embrace a model based on pure creation, rarity, culture, and also slowness, while building a global presence and reinforcing our differentiation through artistic power. We want to continue proving that emotion, singularity, and thought can and must remain the only true drivers of desire, absolutely avoiding the saturation and polarization that can exist in order to remain unaffected by market tensions. We try, for example, to transform each fashion show into a genuine cultural moment, and Daniel Roseberry works on this through powerful themes such as the couture collections "Icarus" (presented in January 2025 during Haute Couture Week) and "Back to the Future" (presented in July 2025 during Haute Couture Week).
We are also convinced that our heritage is a lever, not for nostalgia but for the future, to continue to develop without diluting our identity and while remaining focused on our role and our clients.

FT: If you had to identify one major business opportunity for your company, what would it be?

DB: Our founder, Elsa Schiaparelli, worked with all types of products, and the house has a legitimate claim to a great many things. Currently, we have Haute Couture, ready-to-wear, and accessories, but we still have many areas in which to develop. For example, we have only just begun to explore...art de vivreAnd Daniel Roseberry has many ideas around this; in the future we will also look at perfume and cosmetics…

FT: What are you expecting from the event? We Are French TouchWhat are the reasons for professionals in your sector to attend on Wednesday, November 26th? Why is it essential for entrepreneurs to meet and network at events like this?

DB: There aren't many events that allow for a real immersion into the heart of our ecosystem: ultimately, each house or brand is caught up in its own challenges and has its own key moments to manage; we have few opportunities and little time to come together, even less with professionals from other sectors to explore the synergies we were talking about earlier: We Are French Touch will be the opportune moment for that.

This event allows us to take part in a collective dynamic, which should serve to shape, protect and continue to promote France's reputation and competitiveness internationally.
We Are French Touch It is also an opportune moment to capture emerging trends, access strategic insights on the transformation of the sector such as: sustainability challenges, generative AI, new customer experiences, new creative value chains… and reflect together on the future of creation and innovation in France.

Get your badge for We Are French Touch on Wednesday, November 26th at the Palais Brongniart