Essentially, it’s Serre’s oscillation between these two points,
creative ambition and practical exigency, that make her one of the most vital
designers of the moment… Previous runway shows of Serre’s have proved to be a
portent of where we find ourselves these days; a grind-you-down series of
political, social, and environmental crises that also ask us to rise up to
question and challenge the status quo. Serre’s clothes have been doing that
too, pulling apart, quite literally, all the old and outdated constructs of
‘luxury’ and ‘status’ and ‘power.’ Instead, in their prizing of human
craft and cultural relevance, she has prioritized a recalibration of our
values, through her inventive and emotional upcycling and recycling
experiments, for scarf dresses, paneled sweaters, and hourglass coats alike.
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Someone
should either write a book or a treatise as I do not believe that there is a fashion
customer this erudite to understand the babble that is written here. Most
likely, this is just some regurgitation
or interpretation of a pretentious press release which means absolutely nothing.
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I
ask one more time … when is the last time you saw clothes hanging on a rail
that had explanations for their inspiration or their raison d’etre…. give it a rest!
It is media coverage like this that essays to give justification to silly
clothes like this that are highly referenced from times gone by... think Larry
LeGaspi, Maya, Cardin, Norma Kamali and any number of fetishistic designers who have
proffered these looks long ago without the all the tedious verbiage and I might
add had done them better!
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Lockdown allowed her even more creative agency while also giving
her a chance to think about the trajectory of what she’s doing. “It gave me
some time to reflect,” she said. “It’s not easy. Things are changing faster
than we can.” One thing she decided to do to counteract that: Reaffirm her
signatures, and explore how they could interact with our ever-evolving lives.
There are plenty of those terrific multi-pocketed utilitarian pieces of hers,
for both men and women, in biodegradable nylon or recycled moiré, rigorously
sculpted into graphic shapes. Serre’s upcycling experiments led her to work
with carpeting, using it for tassel-edged skirts, shorts and half-zip anoraks,
the fabric’s almost baroque decorativeness in stark contrast to the
functionality of the pieces it’s used for.
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BLAH BLAH BLAH BLAH
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Thank you, Vogue, for promoting the absurd and for never doing
your homework.
