A fully traditional sofa, with deep tufting and carved wood, can make a compact modern apartment feel heavy. A fully contemporary room can feel bare in a house with crown molding and older architecture. Many people want something between the two, and transitional design is the style built for that gap.

What Is Transitional Furniture?

Transitional furniture combines traditional forms with contemporary restraint. From the traditional side it keeps soft curves, rolled arms, turned legs, and a little surface detail. From the contemporary side it takes clean lines, simple finishes, and fewer ornaments. A transitional sofa may have a classic shape but a tight, plain back. A transitional coffee table may have a traditional wood tone and a straight, uncluttered frame. That balance lets one room hold older and newer pieces without a visible split.

The appeal of transitional design lies in its flexibility and timelessness. Rather than committing to a single aesthetic, whether maximalist traditional or austere minimalist, transitional pieces offer a middle path that adapts to evolving taste and circumstance. A transitional dining chair works equally well in a formal setting or a casual kitchen. A transitional console table anchors a living room without demanding visual dominance. This versatility makes transitional furniture particularly practical for evolving homes, where design preferences shift, collections grow organically, and the need for cohesion outweighs the desire for stylistic purity. The result is a room that feels intentional and curated rather than frozen in time, a space where heritage and modernity coexist without tension.

Key Traits of Transitional Design

Transitional rooms look calm and layered. Three traits do most of the work.

Silhouettes and Scale

Shapes are softly curved or gently rolled, never fussy. Frames tend to be straight-lined, and proportions stay moderate. A transitional sofa is rarely oversized, and a transitional chair is rarely thin or skeletal. Everything in the room should look comfortable next to everything else.

Palette and Texture

The base is neutral: cream, warm gray, greige, soft white. Depth comes from texture instead of pattern or strong color. Bouclé, linen, velvet, and woven fibers give a pale room enough contrast to avoid looking flat.

Materials and Finishes

Mid-tone woods, glass, and stone appear often, along with metal accents in brass or black are seen in many interior design projects. Hardware stays simple. One or two metal finishes repeated across the room keep the look tidy.

Transitional vs. Traditional vs. Contemporary

The three styles overlap, so a side-by-side view helps.

Transitional design suits homes with mixed architecture, open floor plans, and owners who inherit or collect pieces from different periods. It gives those pieces a common language.

How to Design a Transitional Living Room

The steps below follow the order a designer would usually work in, from the largest piece to the smallest.

1. Anchor the Room With the Sofa

Start with a neutral upholstered sofa with a clean frame and a modest roll arm. It sets the scale for everything else, so measure the wall and the walkways before choosing a length. Leave enough room between the sofa and the coffee table to move through without turning sideways.

2. Set a Restrained Palette

Pick two or three base tones and one accent. The accent can be a deep blue chair or a rust throw. Keep everything else quiet and let texture carry the contrast.

3. Choose the Main Pieces

Once the layout and palette are set, compare pieces for scale, frame shape, and finish. When browsing transitional living room furniture, look at sofas, accent chairs, and tables together rather than one at a time, so you can judge whether arm shapes, leg styles, and wood tones work as a group.

Whenever possible, look at fabric and wood finishes in the room itself. Daylight and lamplight can turn a neutral toward yellow or gray.

4. Mix Shapes in the Tables

Pair a rectangular sofa with a round or oval coffee table to soften the layout. Add an end table in a different material, such as a wood-and-metal piece beside an upholstered arm. A slim console behind the sofa or along a wall adds storage without bulk.

5. Add Accent Chairs for Contrast

Two accent chairs do more for a transitional room than another sofa cushion. Choose a texture or tone that differs from the sofa and angle the chairs slightly toward the seating group. The tilt breaks up the straight lines.

6. Layer Rugs, Lighting, and Art

A low-pile or flat-weave rug in a quiet pattern defines the seating area. Add one sculptural lamp or fixture and a few decorative objects with space around them. Transitional rooms rely on negative space, so stop before every surface is filled.

Common Transitional Mistakes

• Buying matching sets. A sofa, loveseat, and chair in one fabric read as a showroom. Vary texture or tone.
• Adding too many patterns. One or two is enough when the palette is neutral.
• Choosing oversized pieces. Large rolled arms and deep cushions can push the room back toward traditional.
• Skipping texture. A neutral room without texture looks flat.
• Decorating every surface. Clear space is part of the style.

Transitional design works because it lets one room carry pieces from different periods without looking divided. For a transitional living room begin with a solid anchor, keep the palette quiet, and add contrast through shape and texture. A room built this way can take on new pieces over time and still feel consistent.

The anchor is often a sofa or a large case piece in a neutral tone, something substantial enough to ground the space without demanding attention. Once that anchor is in place, restraint becomes your tool. A quiet palette of grays, taupes, whites, and warm naturals allows individual pieces to breathe rather than competing for visual dominance. Within that calm foundation, contrast emerges through deliberate choices: a traditional wingback chair paired with a modern metal side table, a patterned rug that bridges eras, wood tones that range from light to deep. This layering of texture and form keeps a room visually interesting without becoming chaotic. The genius of transitional design is that it rewards slow curation. You are not obligated to buy a complete room at once, nor are you locked into a single stylistic moment. Each new piece can be evaluated against your anchor and your palette, rather than against a rigid design doctrine. Over years, a transitional living room becomes a genuine reflection of how you actually live, not a photograph from a catalog.

The post How to Design a Transitional Living Room appeared first on DSCENE.

The Air Jordan 40 28 Black Volt arrives on October 2, 2026, bringing elements of Michael Jordan’s 28th signature shoe into the newest model in the line. The Black and Barely Volt edition uses the AJ28 as its main visual reference, pairing a zippered shroud with the Air Jordan 40’s latest performance setup.

SNEAKERS

The reference starts with the upper. A black zippered shroud wraps around the shoe, recalling the construction that defined the Air Jordan XX8 when it debuted in 2013. Opening the shroud reveals a vivid Barely Volt interior, connecting the new release with one of the bright color treatments associated with the original AJ28.

Black dominates the exterior, giving the sneaker a compact appearance when fully zipped. Metallic silver detailing appears through the branding, while Barely Volt breaks through beneath the outer layer and around the heel. Nike Air branding appears on one shoe, while the design also incorporates Jordan detailing associated with the “28” concept.

The Air Jordan XX8 introduced one of the most distinctive silhouettes in Jordan Brand history. Designed by Tinker Hatfield, the 2013 model used a tall zippered shroud that concealed much of the underlying basketball shoe. The construction gave players the option to wear the sneaker fully zipped or expose the inner bootie, making the closure system one of the model’s defining features.

For the Air Jordan 40 28 Black Volt, Jordan Brand brings that idea into a lower contemporary silhouette while keeping the current model’s technical foundation intact.

The Air Jordan 40 introduces a cushioning combination that Jordan Brand has never used before. A full-length Air Zoom Strobel unit sits above full-length ZoomX foam, placing two responsive cushioning systems directly underfoot. The Zoom Strobel provides bounce and court response, while the ZoomX layer adds lightweight cushioning underneath.

Six internal webbing straps work with the upper to secure the foot during lateral changes in direction. The system keeps the containment largely hidden inside the shoe, allowing the exterior construction and AJ28-inspired shroud to define the visual design.

Traction comes from a 40-degree herringbone pattern underfoot. Jordan Brand developed the configuration to support multidirectional grip, giving the Air Jordan 40 a traction system tied directly to the model number.

The 28 Black Volt edition brings those Air Jordan 40 performance elements together with one of the more experimental designs from the signature line’s past. The zippered exterior and Barely Volt reveal provide the clearest connection to the AJ28, while the cushioning and containment remain specific to the Air Jordan 40.

The Air Jordan 40 28 Black Volt releases on October 2, 2026, for $200.

Name: Air Jordan 40 28 Black Volt
Colorway: Black/Metallic Silver/Barely Volt
SKU: IR2084-001
Price: 200 USD
Release Date: October 2
Available at: Nike and select retailers

The post Air Jordan 40 28 Black Volt Drops Today appeared first on DSCENE.

Zendaya and On continue their partnership with a second co-created collection, presenting the new pieces through an action film-inspired campaign developed around physicality, performance and everyday dressing. Longtime Zendaya collaborator Law Roach joined the creative process, bringing his approach to styling and print into the latest release.

SPORTSWEAR

The collection develops everyday sportswear through technical fabrics, adjustable details and a custom python print. Zendaya described the seasonal update as an effort to elevate familiar basics, with the python motif working as a contemporary camouflage. Roach brought his interest in print to the project, applying it to performance-focused materials designed for daily wear.

Oversized crew necks and sweatpants feature ruching and bungee cord details that allow wearers to adjust their shape. The python print appears on a bodysuit, fitted long-sleeve top and half-zip anorak, giving several pieces a shared graphic treatment while the silhouettes range from close-fitting to oversized.

Footwear introduces a new interpretation of the Cloudnova Moon. The Mary Jane-inspired version combines an engineered knit upper with refined speed laces and arrives in three color combinations: Clove / Ivory, Dew / Antler and Black / Ivory. The design takes the familiar Mary Jane format into On’s footwear category through technical construction and the Cloudnova Moon base.

Zendaya and On introduce the collection through a short film directed by Argentinian trio Pantera. The filmmakers draw from the visual language and physicality of classic action movies, placing Zendaya inside a sequence of choreographed scenes that test the garments through activity.

The format gives the campaign a practical way to demonstrate the collection. Zendaya wears the new season pieces throughout the action sequences, allowing the fabrics, adjustable silhouettes and footwear to respond naturally to the body. Accompanying still images continue the cinematic approach through fashion photography focused on Zendaya and the new designs.

On Chief Marketing Officer Alex Griffin described cinematic filmmaking as an established part of the company’s partnership with Zendaya. For the latest project, the team uses the conventions of action cinema to take that approach in a different direction while presenting the collection through an entertainment-focused format.

The release follows an ongoing creative relationship between Zendaya and the Swiss sportswear company. For their second co-created collection, the collaborators concentrate on familiar wardrobe categories and technical construction, with Roach contributing to the design process alongside Zendaya and On.

The Cloudnova Moon Mary Jane and accompanying apparel are available through On’s website and retail stores globally. On has also created temporary installations at its flagship locations in Los Angeles, Paris, Tokyo and Chengdu, where customers can experience the new season collection in dedicated retail environments.

The post Zendaya and Law Roach Shape the Latest On Collection appeared first on DSCENE.

Watching Pierpaolo Piccioli‘s third collection for Balenciaga unfold on the runway at Paris Fashion Week yesterday was witnessing a designer systematically dismantle the false boundary between couture and ready-to-wear. There was no dramatic rupture, no collision of high and low. Instead, Piccioli presented something far more rigorous: couture as a working methodology, not a category.

SPRING SUMMER 2027

The collection opens with this thesis immediately. Denim jeans, t-shirts, bombers, leather jackets, the vocabulary of everyday dressing, arrive transformed through techniques born in the house’s 55th Couture Collection. Watching these pieces move down the runway, their architecture becomes undeniable. A t-shirt doesn’t simply sit on the body; it has been constructed, studied, redrawn through draping and forming in the atelier. The garment carries evidence of human intervention in its proportions, its seams, the way it breaks at the hip. This is the operative insight: couture as a laboratory doesn’t produce unobtainable objects. It produces a method, one that can reshape the known into something unmistakably worked.

Stitching as Language

The most visually arresting element throughout was Piccioli’s use of a specific couture stitching technique, transposed from internal tailoring structures directly onto external surfaces. On leather jackets and cotton t-shirts, this stitching creates basque shapes that echo archival Balenciaga silhouettes, those iconic nipped waists and controlled volumes, yet shifted onto pieces designed for movement and daily wear. It’s a direct translation: take the hidden architecture that makes couture garments hold their shape, expose it, make it functional on a bomber. The effect is neither decorative nor arbitrary. Each stitch line restructures the silhouette.

Bias cutting, too, operates as a structural tool rather than an aesthetic flourish. Applied to evening dresses, jeans, shirts, and men’s suiting, the bias shifts how familiar pieces rapport with the body. A pair of bias-cut jeans doesn’t look radically different from across the room, but the moment a model walks, the fabric negotiates the body differently, it moves with a fluidity that suggests ease without suggesting slackness. This is the distinction Piccioli maintains throughout: nothing is soft for softness’s sake. Softness is the result of how the garment is constructed to move.

Body as Foundation

Cristóbal Balenciaga‘s foundational philosophy, the body as the basis for design, resurfaces here, but through Piccioli’s own lens. Calais lace insertions and cutwork function as structure, not ornament. Windows of lace open onto skin, but they’re placed with the precision of an architect, not scattered as embellishment. Abstracted, imaginary flowers rendered in organza and filled with compressed air create volume through mathematical rhythm rather than romantic excess. Even the accessories, the Wave Thong Sandal in its pliant simplicity, the new Lounge Sneaker’s unstructured ease, the draped Nodo bag shaped by hand, all return to the same principle. The body dictates form.

The shoes are particularly instructive here. The Wave Thong Sandal feels almost austere in its flatness, yet the leather has been worked so that it responds to the foot rather than resisting it. The Lounge Sneaker, similarly unstructured, suggests comfort as a design outcome rather than a marketing claim. These aren’t shoes that look expensive because they’re minimal; they look minimal because they’ve been stripped of everything except what allows them to function in service of the wearer.

Ornamentation That Functions

Piccioli’s statement that “decoration is never in service of artifice” could read as reductive, yet watching the collection proves its rigor. The Getaria seashell-inspired jewelry feels organic not because it mimics nature aesthetically, but because each piece has been considered from the logic of its form. Bow Mask Sunglasses with artisan-braided arms aren’t precious despite their craft; they’re precise because of it. The Silhou Tote, executed in supple leather and shaped by hand, has the quality of something lived with rather than displayed.

This restraint, however, never reads as cold. The collection breathes with what Piccioli calls “a modern sensibility”, a lightness present throughout that acknowledges comfort and ease not as concessions but as priorities. Watching the pieces move, it’s clear that the priority afforded to how garments move and feel isn’t a secondary consideration. It’s embedded in every decision about cut, weight, and proportion.

Larger Proposition

The collection’s title, taken from Aude Franjou‘s sculptural work Les Coraux de la Liberté (which sat at the center of the scenography), gestures toward something beyond fashion. Franjou’s meticulously wrapped linen piece proposes an analogy: a couture house not as a mere physical structure, but as an entire ecosystem, living, breathing, alive. Piccioli’s collection extends this thinking. By treating couture as a system rather than a category, by insisting that methodology can permeate ready-to-wear without diluting either, he’s arguing for a different model of luxury altogether. Not scarcity. Not exclusivity. But intention, applied systematically to every garment, at every price point.

In a moment when minimalism has become a default, Piccioli’s approach feels genuinely investigative. The collection doesn’t deploy minimalism as a trend or an aesthetic shorthand. It uses it as a discipline: every element must justify its presence through function or structure. Freedom of gesture, freedom of movement, freedom of choice, these aren’t slogans in this collection. They’re outcomes of design decisions made with precision and rigor. That’s what makes Balenciaga Summer 2027 one of the season’s most coherent statements.

View Gallery 72 images

The post Balenciaga Spring Summer 2027: The New Methodology appeared first on DSCENE.

The Kobe 10 Protro Blue Lagoon returns on October 5, 2026, bringing back the original launch colorway of Kobe Bryant’s tenth signature Nike Basketball shoe. First released in 2015, the Kobe 10 now receives the Protro treatment with substantial changes to cushioning, fit and traction while retaining the familiar look of the original silhouette.

SNEAKERS

Blue Lagoon holds a specific place in the Kobe 10 lineup. Nike used the colorway for the Kobe 10’s debut and connected it to Kobe Bryant’s early-morning training during his recovery from Achilles surgery. The concept became known as “5 AM Flight,” reflecting the discipline behind his return and giving the vivid blue palette a deeper link to that period of his career.

For its 2026 return, Nike keeps the original visual identity while introducing the technical updates that define the Protro edition. The biggest changes take place underfoot. Nike replaces the original Kobe 10 cushioning setup with a full-length Air Zoom Strobel and Cushlon 3.0 foam. The new configuration places responsive cushioning directly beneath the foot and updates the shoe for current basketball performance.

Nike also revises the upper with streamlined engineered mesh designed to improve breathability and flexibility through the forefoot. The lighter construction keeps the fit adaptable while maintaining support through the areas that need greater structure.

A carbon-fiber wing in the midsole helps with lateral containment during sharp changes in direction. Nike retains the component as part of the Kobe 10 design while updating the surrounding construction for the Protro edition.

The outsole receives another major revision. Nike computationally enhanced the original traction pattern to improve grip while preserving the recognizable Kobe X design. The updated rubber pattern targets quick cuts, takeoffs and changes in direction, bringing one of the shoe’s key performance areas up to current standards.

The Protro approach remains central to Nike’s Kobe releases. Short for performance retro, the concept takes earlier Kobe Bryant signature models and updates their technical setup while keeping the original design recognizable. On the Kobe 10, that approach affects the cushioning, upper and outsole most directly.

The Kobe 10 Protro returned earlier in 2026 with the all-white Halo edition, while Blue Lagoon brings back one of the silhouette’s most important original colorways. The release reconnects the current Protro series with the Kobe 10’s 2015 introduction while giving the shoe a substantially different performance setup underfoot.

The Kobe 10 Protro Blue Lagoon releases on October 5, 2026, for $200.

Name: Nike Kobe 10 Protro Blue Lagoon
Colorway: Blue Lagoon/Black
SKU: IQ5339-400
Price: 200 USD
Release Date: October 5
Available at: Nike and select retailers

The post Kobe 10 Protro Blue Lagoon Releases October 5 appeared first on DSCENE.

Chemena Kamali turns inward for Chloé Summer 2027, allowing personal fixations with the Maison to guide a collection titled Obsession. The designer approaches the season through instinct and emotion, returning to archival references, silhouettes and techniques that have shaped her understanding of Chloé. Rather than searching for a single defining idea, Kamali follows the details she finds herself repeatedly drawn to.

SPRING SUMMER 2027

Broderie anglaise provides one of the collection’s main starting points. Kamali looked to Chloé’s early “robes de jeunes filles,” which frequently used the technique, and studied 19th-century archival threadwork. The collection translates those references across materials with very different weights, ranging from delicate organza to crisp, substantial cotton.

Three-dimensional floral embroidery draws from the 1960s and another period of the Maison’s prêt-à-porter. Kamali uses the technique to create depth and texture while maintaining the youthful character she associates with Chloé. Flowers rise from the surfaces of garments, adding volume and detail without defining the entire silhouette.

Necklines establish many of the collection’s shapes. Heart, bateau, square and V-shaped constructions act as anchors from which the rest of each silhouette develops. Some connect directly to earlier Chloé designs, while others come from forms Kamali has long favored in her own work.

The designer looks to 1970s fishermen’s coats, capes and sou’wester hats, then introduces transparent vinyl in smoky tones inspired by 1950s rainwear. The material creates a graphic layer over the shapes beneath it and gives familiar outerwear forms a sharper outline.

Tailoring reaches back to the 1972 “Noel” suit, a design Kamali describes as a personal fixation. Its scalloped-edge tuxedo becomes a reference for the collection’s exploration of women in menswear. The idea connects structured suiting with the feminine codes that have long informed Chloé.

Lingerie enters the collection through another personal interest. Kamali cuts lace away from fragile pieces and transforms the remaining structures into romantic harnesses. The resulting forms sit lightly against the body, using lingerie construction as a graphic element within the looks.

Across Obsession, Kamali draws on personal connections to Chloé’s archive, revisiting broderie anglaise, floral embroidery, rainwear, tailoring and lingerie through her own recurring interests. The collection brings those references together through texture, transparency, defined necklines and contrasts between feminine dress and menswear, shaping Summer 2027 around the ideas and forms she continues to return to at the Maison.

View Gallery 54 images

The post Chloé Summer 2027 Collection Is Driven by Obsession appeared first on DSCENE.

J Balvin continues his Jordan Brand collaboration with the Air Jordan 4 Amazonas, releasing globally on October 2, 2026. The Colombian artist brings the AJ4 into a partnership that has already included the Air Jordan 1, Air Jordan 2 and two Air Jordan 3 releases, this time turning to the Colombian Amazon and its biodiversity for the design.

SNEAKERS

A pale yellow treatment covers almost the entire sneaker. The upper uses textured leather with a crocodile-like embossed surface, referencing the yellow caiman found in the region. Creamy yellow tones extend through the panels, eyelets, support wings and heel, giving the Air Jordan 4 a largely tonal appearance while allowing the different surfaces to define the construction.

Traditional quarter-panel netting remains in place, while leather replaces some of the usual molded components around the eyelets, wings and heel. The material choices give the AJ4 a softer, richer finish while retaining the recognizable structure of Tinker Hatfield’s 1989 design.

J Balvin adds several details tied directly to his Colombian identity. Metal lace dubraes carry bilingual versions of Nike’s “Just Do It” message, with “Just Do It” appearing alongside the Spanish “Solo Hazlo.” The collaboration also uses asymmetric branding at the heels, pairing Nike Air with J Balvin’s familiar smiley-face graphic.

A leather Jumpman patch appears on the tongue, while additional Jumpman x J Balvin branding marks the release. Printed insoles extend the Amazon reference inside the shoe, using imagery associated with water from the region.

Underfoot, the Air Jordan 4 retains its visible Air-Sole unit in the heel. A polyurethane midsole follows the tonal treatment of the upper, keeping the emphasis on the yellow palette and textured leather.

“Amazonas” becomes the fourth Air Jordan silhouette J Balvin has reworked with Jordan Brand. His first Air Jordan 1 collaboration arrived in 2020, followed by the Air Jordan 2 in 2022. He turned to the Air Jordan 3 for “Medellín Sunset” in 2023 and “Rio” in 2024 before progressing to the Air Jordan 4.

The Air Jordan 4 x J Balvin Amazonas releases globally on October 2, 2026, through SNKRS and select Jordan Brand retailers. Nike sets the US retail price at $225.

Name: Air Jordan 4 x J Balvin Amazonas
Colorway: Lemonade/Lemonade
SKU: IW2872-700
Price: 225 USD
Release Date: October 2
Available at: Nike and select retailers

The post Air Jordan 4 x J Balvin Amazonas Arrives October 2 appeared first on DSCENE.

ICICLE explores the changing rhythms of everyday life with Moments, its Spring Summer 2027 Atelier Collection conceived by Design Director Bénédicte Laloux. The collection treats clothing as something responsive to different points in a day, with silhouettes that shift through proportion, fabric and small adjustments. Across womenswear and menswear, Laloux approaches identity as instinctive and multifaceted, allowing garments to respond to different moods and situations.

SPRING SUMMER 2027

Laloux develops them through precise tailoring, fluid silhouettes and relaxed volumes, creating pieces that can change according to how someone wears them. Sleeves roll or fold back, slits open as the wearer walks and volumes loosen around the body. Buttons, belts and panels of fabric alter proportions through simple interventions.

A trench coat takes the form of a dress, while a blouson arrives in silk taffeta, bringing a refined treatment to a familiar sportswear shape. These transformations run throughout Moments, where recognizable garments gain new character through fabric, construction and movement.

Natural materials play a significant role in establishing the collection’s texture and weight. ICICLE works with airy poplins, silk chiffon, crepe, cotton and wool combinations, and textured linen. Silk responds to changing light, while linen introduces a denser, almost mineral surface. Graphic folds shape volumes across the collection, joined by pleats and micro-gathered embroidery that give fabric a delicate raised texture.

Bags use fringed squares of fabric to create a cloud-like surface. ICICLE folds the individual sections with origami-like precision, turning repeated geometric pieces into soft, tactile forms.

Color changes as the collection progresses, marking shifts from one imagined moment to another. Black, white, ecru, sand and camel establish a restrained foundation. Poppy pink, soft yellow, sky blue and anise green introduce brighter accents throughout the womenswear.

Menswear develops its own color vocabulary through moss green, lilac and vivid red. These shades soften the character of tailoring, while stripes and abstract jacquards offer new interpretations of casual clothing. The changing palette gives individual looks a distinct mood while maintaining continuity across the collection.

Laloux conceived Moments as a sequence of separate presences rather than a fixed uniform. Clothing responds to movement and allows details to shift during wear. A loose panel changes a silhouette, an opening reveals itself with a step, and a folded sleeve alters the proportion of a look.

ICICLE draws its imagery from fragments of daily life and turns them into clothes for women and men. The collection moves from structured tailoring to lighter fabrics, from restrained neutrals to clear flashes of color, while maintaining a focus on natural materials and adaptable forms.

View Gallery 40 images

The post ICICLE Turns Everyday Moments Into Spring Summer 2027 appeared first on DSCENE.

Schiaparelli sharpens its ready-to-wear identity for Spring Summer 2027, as Daniel Roseberry focuses on clarity, consistency and the relationship between couture and everyday dressing. Titled Going Clear, the collection develops ideas that have taken shape since the house began expanding its ready-to-wear offer, with Roseberry focusing on how Schiaparelli can retain its identity while giving the wearer greater freedom.

SPRING SUMMER 2027

Roseberry breaks down familiar Schiaparelli silhouettes, gowns and necklines into tops and bottoms, creating a modular wardrobe informed by American sportswear and his Texas roots. The approach allows individual pieces to work in different combinations while keeping the house codes recognizable. A reduced palette of Schiap black, bone and butter establishes the foundation, with selective color appearing throughout.

Roseberry also explores the difference between precision and severity. The collection avoids rigid construction in favor of softer details, including lettuce hems and asymmetrical openings. Ruffles appear in leather and linen, taking inspiration from the curtains that once covered the second-floor windows of Elsa Schiaparelli’s Place Vendôme atelier. Roseberry translates their slightly misplaced quality into clothes that carry the same sense of unexpected proportion and texture.

Vegetable and feather motifs cover sheer shirts, transferring techniques associated with richer couture fabrics onto transparent materials. Vegetable embroidery also appears across one of eight interpretations of the classic Schiap jacket. The jackets come in colors drawn from the archives, including kingfisher blue, moss green and salmon pink.

Knitwear plays a central role. A sheer viscose tree-bark knit references a fabric Elsa Schiaparelli originally developed, while broderie anglaise moves from couture into ready-to-wear. Roseberry adapts these techniques into garments that allow the house vocabulary to become lighter and more flexible.

The collection also introduces what Roseberry describes as “revenge dressing” through variations on the little black cocktail dress. He links the idea to Look 1 from the house’s recent couture collection, The Abyss, using its simplicity as a reference point.

Accessories continue the same focus on recognizable forms with unexpected details. Handbags use familiar shapes such as the hobo and pocketbook, including one design with a brass mouth that functions as a handle. Footwear introduces lower everyday styles, including a babouche, a knit bootie that refers to a style Elsa wore in the late 1930s, a mule with a ball at the toe inspired by photographs of 1950s American film stars including Marilyn Monroe, and a lower totem heel. Jewelry expands the idea of personal choice through animal forms. Earrings, cuffs and brooches take the shapes of horses, dolphins, pigs, dogs, cats and spiders. Familiar house motifs such as keyholes and lips also appear across shoes, bags and collars.

Roseberry describes Schiaparelli ready-to-wear as a direct connection between design and the person who ultimately wears it. The house does not separate its runway vision from a secondary commercial collection. What appears on the runway becomes what stores receive and customers buy. Going Clear means stripping away fashion’s noise, status and outside approval to reach a more direct creative voice.

View Gallery 52 images

The post Schiaparelli Spring Summer 2027 Goes Clear appeared first on DSCENE.

The Australian Fashion Council is taking a coordinated push into Paris Fashion Week with the debut of Australian Fashion Rooms, bringing 12 Australian designers to Galerie Poggi from September 30 to October 4, 2026.

SPRING SUMMER 2027

Launching during Paris Fashion Week Womenswear Spring Summer 2027, the project represents the AFC’s largest international trade initiative to date. The organisation has designed the five-day showroom as a direct meeting point between Australian labels and international buyers, media and fashion industry representatives.

Australian Fashion Rooms also forms part of a wider AFC strategy to secure a stronger place for fashion within Australia’s trade and economic agenda. The council has advocated for greater recognition of fashion as an export industry and increased investment in international market development. According to the AFC, the Australian fashion industry contributes $27.2 billion to the national economy and generates $7.2 billion in exports.

The participating group includes Amy Lawrance, Buai, Caroline Reznik, ESSE, Haluminous, Ilio Nema, Maara Collective, Madre Natura, Miimi & Jiinda, NGALI, Paolo Sebastian and Romance Was Born. The selection covers couture, ready-to-wear, First Nations-led practice, artisanal techniques and experimental design. Half of the participating labels have previously appeared at Australian Fashion Week through group presentations or individual runway shows.

The designers bring distinctly different perspectives to Paris. Their work draws from cultural knowledge, migration, regional experience, craft traditions, material experimentation and connections to Country. The AFC sees that range as central to how Australian fashion can communicate internationally without relying on a single aesthetic definition.

An industry advisory panel helped determine the final selection, drawing expertise from CAMILLA AND MARC, David Jones and 10 Magazine, alongside Dan Thawley, Kellie Hush and Yatu Widders Hunt.

Before arriving in Paris, the designers took part in a structured preparation program covering brand positioning for international markets, wholesale, export preparation and presenting collections to global audiences.

Galerie Poggi is hosting the showroom in a gallery-style format designed around the individual identities of the participating labels. Australian Fashion Rooms also introduces cultural elements beyond clothing. Chef and food stylist Sian Redgrave created a menu inspired by familiar Australian flavours, childhood references and everyday classics, while Sydney-based The Little Marionette provides coffee.

The program officially opened with a reception at the Australian Embassy in Paris hosted by Australian Ambassador to France Lynette Wood. The event brought designers together with buyers, media, cultural figures and government representatives ahead of the showroom appointments.

AFC Executive Chair Marianne Perkovic said the initiative aims to turn international attention into commercial opportunities and help Australian labels establish lasting businesses overseas.

Austrade supports Australian Fashion Rooms through the Trade Diversification Network, while Create NSW contributes through the NSW Fashion Sector Strategy 2025-2028. For the participating designers, Paris serves a practical purpose: meeting the people who can translate international interest into wholesale relationships, new markets and longer-term commercial growth

The post Australian Fashion Council Brings 12 Designers to Paris appeared first on DSCENE.