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Can artificial intelligence ever create a haute couture collection? Schiaparelli’s Creative Director, Daniel Roseberry, kicked off Paris Haute Couture Week with a show designed to prove that anything a computer mind can do, he can do better.

Described as a deep dive into the abyss, the collection was packed with runway experiments: from a latex jacket featuring inflatable tentacles to molded silicone bustiers resembling jelly and dresses pulsating with light, WWD reports.

Roseberry is a fashion purist. He is one of the rare designers today who still hand-draws every single sketch, yet even he feels the winds of change.

The Clash of Digital and Handmade

Roseberry clearly holds ambivalent feelings toward computer-aided apparel design, but he has never been afraid to take risks. This season, he went head-to-head with the paradox of creating made-to-measure clothing in the digital era, blending traditional couture techniques with the most unexpected materials—ranging from latex and silicone to dried flowers, sea shells, and fish scales. "It's about surrendering to what's happening today, surrendering to this unknown. The digital part and the handmade—that’s the collision happening in couture right now, and it’s incredibly fascinating to watch," he explained.

With its extreme shapes, jelly-like textures, and bizarre mutations (such as the flesh-toned silicone gills on the models' backs), this collection engaged in a direct dialogue with the era of deepfakes, body modification, and radical red-carpet statements.

Glossy, molded jackets and corsets appeared as rigid and futuristic as the Allen Jones anatomical corset Kim Kardashian famously wore to the Met Gala. Latex gowns quivered, hugging every contour of the body. A subtle atmosphere of menace lingered even within the softest looks—such as a pastel pink prom dress embroidered with pearls, worn by model Amelia Gray.

Surrealism Without Algorithms

Admittedly, Roseberry's sources of inspiration bordered on the eerie. His color palette was drawn from the unsettling imagery of artist Matthew Barney's Cremaster Cycle films, while the garment fabrication techniques were developed in partnership with a Parisian guild of artisans who specialize in manufacturing hyper-realistic silicone babies for the film industry.

The designer himself traces this unconventional approach back to the legacy of the house's founder, Elsa Schiaparelli.

"I love the extreme. After all, this is couture. Beauty here can never be one-dimensional or flat. There is always an element of subversion, a certain edge—whether it stems from animalistic motifs, body anatomy, or these nods to silicone and latex. That is the kind of beauty that inspires me."

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