A lone star is a luminary. For Daniel Roseberry, it is also a descent into the months ahead. On top of that, it is the title of his second Schiaparelli ready-to-wear offering—a roving collection of ochres, gold, ostrich fur, and cowboy paraphernalia.

Roseberry was led by the tensions around how women dress. The modes of dressing presented did not start and end with one reference, even as concerned with work, play, and leisure. In a press statement, the designer explained that he created “a wardrobe that would speak to the contradictions inherent in women’s lives.” He sought to ask how clothes could explore both feminine and masculine archetypes while simultaneously allowing women to embrace the feminine divine. “How could I give them something that would allow them to feel dominant when they needed to be… without sacrificing their sense of tenderness? How could I be there for them when they wanted to look austere… or when they wanted to look baroque?,” he posed.

The Lone Star opened with bustiers and cowboy boots inspired by the gendered parameters of dress. Fur and leather vied for optical dominance. Both materials came in earth shades: burnished metals, hazel browns, tans, and suede. Tooled leather, which has its origins in cowboy apparel, was the chosen fabric for the accessories. Slouch-ended day bags were swashbuckling, clutches resembling beaten copper were leather too. The models’ ears dripped with golden hoops the size of apricots, chandelier necklaces were also meted in the house’s signature textural gold. Perhaps it is the cowboy’s simplistic yearning that the designer brings to his work.

Paired with the accessories were blazers with stiff-ended shoulders, gold print, and tonal browns. The garments were interlinked with motifs from Roseberry’s own childhood in Texas. Tributes ranged from ranch pieces such as the Red Wing cowboy boot, the duster coat, and the cowboy buckle—reimagined into the Schiaparelli lobster and keyhole motifs. Such elements beamed off waists enveloped in fur caped jackets, others were layered atop iridescent jumpsuits, complete with a gold encrusted harness. Suit-wear also subverted norms with exposed shoulders and nipped in waists. Other tailored silhouettes fronted an intricate chest plate and rope-trimmed cutouts.

To construct a look from garments can be tedious. In The Lone Star, Roseberry intermixes texture and silhouettes so that it doesn’t have to be so. A constrictive bodysuit can move like a leotard. A cowboy boot can service both evening wear and the office. He instills such a method to encourage a wispier, more allegorical approach to women's dressing. As he puts it, “I hope they, and all women, feel the same about these clothes.”