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 Serre’s clothes have been doing that too, pulling apart, quite literally, all the old and outdated constructs of ‘luxury’ and ‘status’ and ‘power.’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.
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