Serre first fell in love with clothing by harvesting, and you can see that adoration of 1950s shapes and costumes in her early collections, although this felt less present in her last two shows. This collection, with exquisite coats and large linen bowling shirts and men’s skirts, seems to revive these ideas and pull them forward into something somehow real and glamorous.
Serre is the rare designer whose collections start with what is available to her, not with what she dreams of – she starts with the exhausted materials in her warehouse and enters a state of contemplation and problem solving at the same time. Here, the raw materials at hand include a popcorn fabric – the tiny novelty fabric that stretches across the body – as well as the torch towels used by French chefs. Her recycled denim returns in dusty cherry tones.
If the torso suit and recycled silk have the cultural factor that Sir cultivated, the most powerful section is a group of extremely beautiful white pieces made of embroidered linen tablecloths and tea towels; there are also necklaces and bracelets from spoons and forks. “It’s a lot to worry about,” she said of the collection and the film. “Take care of other people, take care of yourself, cook. I emphasize again [as in] Core, how many simple things matter in life. I often make this connection between the fashion industry and the food industry. “
In fact, the parallel between fashion and food is what she thinks a lot – it’s not the first time we’ve discussed it, and in the meantime I’ve been turning it over in my head before talking to the designer, by the way. Over the last two decades, the food industry has undergone an existential awakening, with even the most passive consumer realizing the benefits of organic products, the dangers of processed foods and the pleasures of cooking. This is an attractive model for the fashion industry.
We would like to think that this is a change in faith or consciousness – that consumers have become healthier, more aware of the impact of the food industry on the environment. But it seems to me that this was as much an aesthetic revolution as it was an ethical one. Famous chefs like Anthony Bourdain used their charisma to make us more aware of the global palate, and cookbooks like Samrin Nosrat and writers like Michael Polan helped us understand pleasure in new ways as they clarified the political and environmental issues of food. -taste industry. (Food, much more successful than fashion, also began to conform to “toxic jobs” in the kitchen.) These were ways that were friendly to Instagram, to our bookshelves, to our eyes, and most of all to our sense of taste. This can ultimately be said to be a revelation driven forward by beauty.
This is so special about Sir’s work and what this collection embodies so well. In the first place, although she remains strongly influenced by designers such as Martin Margiela (who was previously a cycle of sustainable design) and Jean-Paul Gauthier, according to her globalist view, she invented her own extremely original concept of beauty. (This collection, which is true to its aesthetics but full of mature clothes, doesn’t make much use of its signed lunar print. It’s the right choice on the market, as viral lunar pieces have become so popular that they are now rejected by fast fashion Serre’s brands exist as opposed to.) Her clothing feels like heavy metal and is somehow gothic and very gloomy, as wonderful as it is, with these well-dressed, elegantly tattooed people in a breathtaking country house wrapped in squid ink pasta ortholan style, linen napkins hung over their heads. The printed pieces from this collection – which are not recycled, but instead are environmentally certified viscose and jersey, according to a certificate provided by the Serre team – combine familiar images from past Serre collections in pajama-like suits. The man wearing Serre – and men’s clothing is now essentially an equal part of her offering – looks beyond and sophisticated.
With this collection, Serre has nailed a mixture of fashion reality and sophistication that does not want trends. It is possible for a person to create change, for better or for worse.
In my opinion, this is the best – our world has just been too, too ugly in the last decade. I don’t even mean spiritually; I want to say that everything is too big, too obvious, too often created or caused by fear or negativity. When I asked her if she was optimistic, she nodded a little hesitantly. “I think maybe, yes, I have something more positive or a little more hopeful than I did four years ago,” she said. “Somehow this proposal for a new world is now being followed by more people than just three years ago.” She doesn’t just mean the success of her brand – “I mean, the younger generation is changing the world.”
“I’ve always been what you see today,” she said. “It just wasn’t the right time.”