Daniel Roseberry has heard a lot of congratulations since the Oscars on Sunday night. He dressed Wicked’s Ariana Grande in a strapless bustier gown with a crenelated 3D peplum—the Venus on the half shell number—from Schiaparelli’s January haute couture show, adding nearly 200,000 crystals to its tulle skirts to ensure she would really sparkle.

The runaway success of Roseberry’s couture collections has spurred significant cultural awareness of Schiaparelli; Sleeping Beauty is wide awake, let’s say. But made-to-measure can take a company only so far—ready-to-wear clothes and accessories are the real heartbeat of luxury brands. And don’t forget perfume. Elsa Schiaparelli’s Famous fragrance, the one in the Mae West-shaped bottle, is begging for a relaunch. And that’s why the label turned up the heat this season, graduating to the Musée d’Art Moderne de Paris. A front row stacked with the industry’s power brokers signaled the growth opportunities that are seen here.

“It’s so interesting being in this moment: I do feel like we’re entering a second golden age of Schiap,” Roseberry said backstage. Not that the pressures of building the business have softened his more fantastic, outré instincts. Explaining his starting point, he noted, “all of the women I know are dressing for themselves and other women. I was imagining a global pandemic where mankind,” as in just men, “ceased to exist and women inherited the earth. What would they do with the remnants of male archetypes?”

That meant we got a lot of suits with 1940s shoulders and super nipped in waists—“old Hollywood masculine tropes, but looked at through the female gaze,” Roseberry explained. One of them was embellished with what could have been a showgirl’s corset. Cowboy motifs that played up Roseberry’s Texan roots came into the picture too: big silver buckled belts circling the waist, leather pants with laces up the side like chaps, and a real gunslinger of a leather coat with grommets and fringe and quick-draw pockets. The sexy piqué viscose knit dresses tied with velvet bows were designed to evoke snakeskin, the cowboy’s quarry, maybe.

Otherwise, Roseberry worked on adapting his couture explorations for the ready-to-wear market, “industrializing” what the atelier has achieved by hand with a pair of remarkable ribbon dresses that undulated over curves and an all-over sequined gold dress that sucked them in, at the expense, it must be said, of much freedom of movement. So, how does a Schiap woman kick back? In a beaded pajama set; even when she’s lounging she’s wearing something statement-making. It’s an enviable existence, this post-men apocalypse Roseberry has dreamed up. More good news: the surrealistic jewelry that Schiaparelli fans collect like candy has also been industrialized, meaning it still packs a punch but weighs half as much.