Delphine Bellini on Reviving A Sleeping Beauty Into Fashion's Hottest Brand

0:00I never wanted to be a leader. This came all the way without me asking for it or expecting it. It's just that at some point you realize that along the way you've been surrounded by people who believed in you more than you believe in yourself.

0:23How do you prioritize growth and reinvention while still respecting history and tradition? My guest today, Delphine Bellini, is the powerhouse CEO of Schiaparelli, the iconic fashion house founded by Italian designer Elsa Schiaparelli nearly a century ago. The company folded, but 50 years later, it's back, and Delphine is the engine behind the operation. She's now responsible for converting creative director Daniel Rosemary's artistic vision into a thriving business, all while honoring Elsa Schiaparelli's legacy. I met Delfine at a dinner a few years back. I remember thinking that she had a quiet strength about her, that she was all class, but also grounded, and that she was very French.

1:07We hit it off right away, and I feel lucky now to call her a friend. She and I talk about what made Elsa Schiaparelli such a visionary and the unique challenge of reviving a quote, sleeping beauty brand. We also get into Schiaparelli's penchant for pushing the limits, from the show where the models wore faux animal heads down the runway, to the sleek black gown Teyana Taylor wore while accepting her Golden Globe for Best Supporting Actress, and whether there's a business case for stirring up some controversy. I'm Maria Sharapova, and this is Pretty Tough.

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3:12Need a hiring hero? This is a job for Indeed sponsored jobs. Delfine, thank you so much for joining us. I know it's a very busy year for you and for the brand. And you kicked off the award season with a major moment, a victory at the Golden Globes and dressing Tiana Taylor. And just from your point of view, what is it like to dress a superstar and then see them win on stage? It's a pleasure to be with you. And, you know, when we dress someone, we never know if she's going to win. But what I find beautiful is to be by their side at a very important moment of their lives because they choose to be in Scare Prendi.

3:58They come to us because they want to express something special that is meaningful for them. I think that they love the universe. They appreciate the talent of Daniel Raspberry. and also they love the relationship they have with the team because this is very important also that they feel secured, understood and surrounded all the way through this project. And so many things have to come together. The choosing the dress, the alterations, the jewelry, it's a complete package. I'm curious in your day-to-day role in leadership, knowing that there is so much history and then there is so much heritage, and all that Elsa Schiaparelli has achieved in her lifetime.

4:46But now you're looking to the future. How do you balance the two? So reviving a sleeping beauty, because the brand has been dormant for 60 years, first of all, you want to be respectful with what Elsa Schiaparelli has achieved and her legacy that goes far beyond fashion history because she was recognized herself as a surrealist artist She was a woman entrepreneur at a time that the position of woman in the society was not what it is today. So it is interesting to investigate a bit more about her, what led her to become an entrepreneur. And actually, it was by constraint she had to work. And it's interesting to see also her contribution to the woman emancipation, but also to the world of fashion and how she contributed also to define the aesthetic of today.

5:44So surrealism came back many years ago as something that felt interesting and intriguing, even for new generation. And when you combine this with our own culture, that is the pop culture, then suddenly there's an encounter, a shock that is extremely meaningful and powerful. So we felt natural to build on her legacy, but really paying attention to what was shocking or what was shaking people, creating this vibration. And we really wanted to create another vibration with something that felt extremely elevated and at the same time, very exclusive. So we gave space to creativity the same way she used to be totally free for her own creativity.

6:36And building on this legacy and recruiting also talents around us and also building this entire project with Daniel Rosemary, We've been able to ride the present, but also prepare the future, being respectful about Elsa, but at the same time owning fully the moment. Yeah. In doing research on Elsa ahead of this interview, one of the things I discovered was in the 1930s, she was, besides being a female designer and designing for women, she was one of the first few designers to design sportswear. And designing a skort that was showcased at Wimbledon by Lily Alvarez was a big moment for her. In my view, it's at that time, it seemed scandalous.

7:24It seemed so out of the norm. It was a big scandal. Now we see that as a genius creation. But women had to be very daring and bold to wear a divided skirt. And it was 1931. So it was very early and very avant-garde. So only women in sport felt that it was something. Pushing the boundaries. Exactly. But at the same time, they've been criticized for that. But today we see that as really a step forward in fashion. Yeah. I'd like to ask you about branding and logos because so many European brands are known for their large, bold logos. And at the Schiaparelli house, you are known for your, yeah, there's no, like we don't have one, but you are known for your, you know, large lips, right?

8:20Your lows for your buttons. And how important is it to have a brand that's identifiable by the public, but yet be, you know, so discreet? But it was the same time at the time of Mrs. Caprelli, the fact that she created those incredible bijou buttons. This was part of our vocabulary. So today it felt interesting to keep this vocabulary, but making it interesting and modern again, bringing something that feels very special, but paying attention also to women. We want women to feel good in our clothes. We want them to feel empowered. We want them to be able to reveal their personality or the women they want to be.

9:04And at the same time, we want them to feel good about those little accidents or something that feels very special that has a story. Because behind everything we create, there is a real story, either a story for the making with an artisan. You are talking about the buttons. Those buttons are made by the artisans who make our jewels. I remember those buttons so well because they were on a denim look I wore for Vogue World. And I remember coming into your studio, I actually had an outfit picked out already, but I thought I could do better. And I remember sending you a message and saying, is there any chance we could look around the atelier?

9:45And it was the first time I witnessed you in your role where you were showcasing the atelier and we came to a mannequin and I saw this. It was a white denim look with this gold, beautiful buttons. I didn't know if the buttons were in the shape of a lip or a vagina, but it was one or the two. And I said, I think this is the look. And you took it off the mannequin. You didn't even go back in the showroom. You didn't look at the warehouse. You're like, you like this? Go and try it. And if it fits, we'll make it work. Because the emotion, that's the immediacy of the emotion. I mean, this is really the raison d 'etre of our activity.

10:23were people passionate about what we do, but we were passionate about our clients. So when you see, when I knew why you were coming for, I knew that there was something special. And at the same time, you fall for something that felt super relevant. So it was even playful for me to say, okay, you like this one, we're going to try this one. And what is interesting is that the silhouette But from the distance, you already see that there is something special about the silhouette because of the cut of the denim. Because of my height, the large shoulders. But at the same time, the closer you come to the silhouette, then you start to identify the details.

11:08The actual logos, the seamless logos of the brand. The lips, and it's a touch and a tribute to surrealism. But it's also something that is very feminine and glamorous. So you have, you wear some denim, but it's not something that you've seen somewhere else. So there are things that only you see. This is what I call selfish details. And things that people get to see and realize when they are close to you. And they ask questions about that. And it opens a conversation. Let's just say it wouldn't be the denim I wear to drop off my son. especially in California maybe in Paris yeah exactly but as long as you feel good about that yes this is once again this is the reason why we we create those garments is for you to feel special when you wear those clothes yeah one of the things you've already referenced is that And Schiaparelli was a dormant brand for 60 years.

12:12And when you stepped in in 2014, one of the things you said to the team was, give me time. And I remember sitting at dinner with you one of the first times we met. And I was so surprised by how calm you handled that conversation with your boss and saying, results won't come right away. It's going to take time. What gave you that conviction in allowing yourself to give yourself those three to five years? Like any entrepreneurial project, when you start, you start with a vision and strong convictions and determination. But nothing happens in one day. That's not possible, especially when you want to curate every single step of the way.

13:04And when you create something for other people, and when I talk about other people, I'm talking about the client, but I'm talking also about the ecosystem we've created. Hiring team members, but also partnering with suppliers and manufacturers and retail partners, people to whom we said, listen, we have this amazing project with this incredible brand. that is more a house of ideas than anything, we think that today we can build something that feels really interesting and powerful with a lot of potential. But we're starting. We have no client, no product, no distribution. Do you want to work with us?

13:53And that's the beauty of it. It's that it's a human relationship. And like anything linked to human beings, You have to be respectful of the time you are going to give to those people to experiment, to put things together, to know each other. And then the same for the client, to start meeting clients, telling the story, understanding what they are looking for, what they need, what they feel good about. All this takes a lot of time. I feel like in the modern world, we are so focused on this quick return of investment. We work hard and, you know, we're in this hamster wheel and we want to see results right away.

14:35How do you convince everyone around you that if this is to be big again, we need time to grow it? I think it was something I've never thought about because it was very organic. It was really working together at the same pace, being also supported by our owner who had the same vision and who is also an expert in luxury. And we all know that to make something very special and elevated, it takes time. Your professional career started from what I read in high-end cruises. Absolutely. Although there is a bit of luxury in that. It's very different to Haute Couture. Yes, but it's still a very elevated service for a very elevated and demanding clientele.

15:25And the red thread, I would say, is the storytelling. You build something, you build experiences, one-of-a-kind experiences, and you elevate them because at every touch point, you have people who are experts in their field, no matter if it's services on board a yacht or if it's outside to discover some particular places, discover the culture. So you create also an ecosystem of people for a customer journey that is so elevated that it's going to be memorable. And that's the goal, to create something that will be for the individuals memorable. I grew up to think that as an athlete, when you go out on the court, you are more than just an athlete.

16:19You are a performer. And when someone is in the audience watching this performance, it is an experience. So whether they're having a good day or a bad day, you have an authority to change their perspective, to change their outlook on their, you know, on a job, on, you know, the way that they're thinking about their future. You know, maybe you're not having a good day on the court, but you find a way to win. Imagine, you know, that audience going back home or a young girl and boy and saying, wow, I just watched someone as an experience. And emotionally, I felt like they were struggling, but they were able to pull through.

16:53And that at the end of the day is what an athlete, a performer, a designer experience is such a huge part of what we do as a culture. What impresses people often more than the fact you win is what it costs you. The process. What it costs you to get at that level that for them is extraordinary and it's something they know they would not be able to achieve. But they are so admirable and respectful. So this is also what creates something that makes them forget about everything. From the moment they watch you playing, they are in connection with you as a person, but also with struggle. Yeah, what it took you.

17:42And this is also a lot of your own story, Maria, what people know about what you've been through to get there at this level. It is extremely impressive. Thank you. Do you feel that as you navigate like a almost like a new world of hiring and new talent, is young talent like eager and hungry to perform, to work hard, to to see the fruits of their labor? Maybe the younger generation, the difference is that they want their contribution to be acknowledged and it's fair enough. But they are hard worker. They can, and in industries where you're led by passion, then when you're moved every step of the way by passion, you don't count your hours.

18:36You don't look at what it takes to achieve something. The clocking, the 9 a.m. arrival. Exactly. And it's a question also of collective effort. You build together and you back up each other. Yeah. So there's a greater purpose in what everyone is doing. Exactly.

19:02Ball is here. And that means the pumpkin spice latte is back at Starbucks. It's the one we've been waiting for. So whether you're a fan of the original pumpkin spice latte or ready to mix it up with an iced pumpkin cream chai, the new iced pumpkin cream matcha, or the new iced pumpkin cream shaken espresso, you can find your favorite taste of fall only at Starbucks. When you need to build up your team to handle the growing chaos at work, use Indeed Sponsored Jobs. It gives your job post the boost it needs to be seen and helps reach people with the right skills, certifications, and more. Spend less time searching and more time actually interviewing candidates who check all your boxes.

19:40Listeners of this show will get a$75 sponsored job credit at Indeed.com slash podcast. That's Indeed.com slash podcast. Terms and conditions apply. Need a hiring hero? This is a job for Indeed sponsored jobs. Should she say that about the kisses? Is that weird? She doesn't care. She presses send. This is the love story of real hinge couple Daniel and Roisin. Written and read by me, Rufy Thorpe. Listen to the free audiobook now. You are part of a team that includes Daniel Roseberry, who's a highly visible creative director. The brand's owner, Diego Dillevale, who's also chairman of Todd's. And then the history and heritage of Elsa Schiaparelli.

20:25How do you, as a leader, find authority in that collective? My role is, first of all, to make Daniel Rosbury's ideas come to life. Secondly, I am the facilitator. I have to make sure that all the team members, everybody has the right resources and that I come to support them to reach our objectives. so it's true that it's um you have you are talking about an athlete that that needs you know support to be to be constantly uh on the toes like you know like a boxer like dancing okay so because you have problems coming here and people think that fashion is just beautiful and it's just trash and no every day you have a bunch of problems falling from the from the sky but at the same time we have great achievements so anticipating what could what could happen or what we should take as a as a as a step and indeed making sure that everybody's on board uh including our our owner did you always know um that daniel was the right creative director for schiaparelli always No, because we didn't know him before, but when we met him and when he presented to us his work, we were overwhelmed.

21:59We were even disturbed in the way that it was so creative, so strong, so meaningful. And also we could see the future. and when I saw his vision, indeed it was almost obvious for me. Did he present something? Yeah, of course he presented a dossier that was made of collages, sketches, studies. It was pages and pages and pages that were so shockingly beautiful and interesting and even, yes, weird in a way for some creations. And I could see how the fashion world could evolve under the helm of someone so creative that could express also his vision with such clarity and power. And when you meet someone like this, you just want to get him the moon.

23:11Forever. Yeah. But how do you tie in this magical, creative process to the business needs of a brand? Because those are two very different roles and they have to align in order for you to be successful. And you are essentially the leader of that. Even being the leader, the reality is that you have to know your clients. You have to know who you want to serve and you have to show a lot of humility and take the time to really understand those women, how they live today, what they need today, what fashion means for them, what is missing that they need and how they want to feel about their clothes.

24:05And so it took also time for us on the different market to try to engage with our clients and to understand what was turning them on in the Scare Polly universe and how we could take those elements and turn them into something really made for the clients. So we are truly a customer centric business. And most of my time is really about knowing the clients, being with them. So we are in Los Angeles. I arrived on Friday, but I spent my Saturday afternoon in my store. How do you spend your time? Do you watch people come in, observe, try on? Yes, I go directly and engage with them and I introduce myself and I thank them for being there.

24:59And we engage the conversation and it's very interesting. Women are extremely busy. They are very active. But the moment they go shopping, it's a moment for themselves. Let's talk a little bit about the shows, because the shows are magic. I was very lucky enough to attend a couple of years ago. The experience is unlike any show I've attended. You arrive, and the one that I attended, you go downstairs, and it's very dark, and you don't see so much. There's not too many visual cues, actually. Before the first model walks out, it gets very dark, eerie almost. And when the models walk, they walk in a way that's very experiential.

25:46They lock eyes with you. They do a little twirl. Some are happier than others. It's a very emotional experience. Tell me why this is a choice of show that you've done in the last few seasons. This experience that you lived with the eye contact with the models is actually something that is reminiscent of the past, actually how the collection were presented in salon to clients, where indeed there were those eye contact because the models used to come very close to the clients. Whereas usually the catwalk shows are more a performance where models walk straight, looking straight. So it felt interesting that Daniel really wanted to create this emotional experience because the entire concept of the collection was all about showing details, textures, but how you could or you should feel about those creations.

26:58that are really artworks and masterpieces. It takes a minute when you leave and you're like, what did I just experience? Exactly. This is unlike any show. As a CEO, what is your role at a show like that? So at a show like that, I'm supporting, first of all, the teams all the way through because you get to see the show, but it's six to eight months work, creating the collection, putting things together, preparing for the show. And also we are going to leave for six months, an entire season and even more, with the communication around the show, with the business around the show, with the relationship, with the clients.

27:48Who's arriving, who's in the front row. So you wear many hats during a show. I do wear many hats, But I have to make sure that everything is streamlined and that every single division in the company is well organized and prepared so that this massive investment we're making around the collection and the show then gets indeed the return that is expected in visibility, in communication, in business. So it's the heart of our activity. so everybody from the the finance the hr uh the ateliers and the communication and the commercial so all divisions of of the house are really focused on that moment but they are also preparing the next collection at the same time yeah so it's a sort of never-ending story uh where indeed you have as a ceo you have to make sure that uh everything is is flowing is flowing exactly and that we are in control of what we do.

28:51But because you're always pushing boundaries, after a show is finished and, you know, in a particular instance, when the models were walking out with the big animal heads and the show finishes and the response is both positive and negative, how do you view that as a CEO? Is that considered a successful show? It was such a successful show. I think we made history. the thing is that you know the fashion industry is full of dramas but the reality is that we are expert in our field and we are in control once again of what we do so even like a show with the lion head and leopard head and the fantastic craftsmanship that has been put behind that and the creativity and the messages that was meant to be delivered we had anticipated a lot of things around that, around what could happen.

29:49And at the same time, we wanted to be respectful of Daniel Rosemary's vision. So we were just really on the spot and monitoring what was going on, but at the same time also enjoying this unprecedented moment and the recognition we got. And also we entered into such a level of execution. The beauty of executing something up to perfection is something that is so rewarding for everybody. It's so hard to bring something like this to life. and indeed when you see the impact and at the same time, the fact that there has been conversations, it is important. If you don't want to face conversations, then you don't enter those jobs.

30:48Basically, you have to be ready to enter into conversation because we are creating messages, we are creating emotion And it is normal that not everybody reads what you want to express in the same way. So we have to be respectful about that. It was a big moment. It was. It was. How do you think about what's next for the brand and how the brand evolves? And I know Ready to Wear has also something that you started several years ago. But how do you think about the next category, whether it is bringing back fragrance in the beautiful Salvador bottle, Salvador Deli bottle? that existed so many years ago to jewelry.

31:30As a CEO, how do you think about what is next and why this time is right? So we built the business model of the company at the very beginning. And we knew that to position the house and to give room to creativity, we had to start with couture. So that was the beginning, 2015, and until 2017 when we got the haute couture label. So then we were ready because in the meantime, we built the network of suppliers and partners. So we were ready to enter the ready-to-wear. And this is the moment where Daniel Rosemary joined the house. So we started really to lift the couture, to capitalize on it and to build the ready-to-wear.

32:17Building the ready-to-wear, because we were barely starting, we did not represent all categories. So we started with small capsule collections that we enlarged. Then we started to launch accessories. Which is something you're wearing, right? Which is part of the ready to wear. Exactly. And then we launched the accessories. So our first handbag and then a second one. And so it's also a process that takes time because we want those products to be of an exceptional quality. using the most exceptional fabrics and materials and paying attention to the constructions, the details, the function, the signature.