Ser came to choose the costume through her first vintage collection, and you can see that the size of the 1950s dress and the suit in her early collection, although it was less present in her last two shows. This collection, including delicate coats and large linen bowling shirts and men’s skirts, has revived those ideas and is taking them forward in both practical and glamorous ways.
Surrey is a rare designer whose collection begins with what is available to him rather than his dreams সে he starts with deadstock materials in his warehouse and at the same time enters a state of disaster and problem solving. Here, the source material includes a popcorn fabric – a tiny novelty fabric spread over the body – as well as a torch towel used by French chefs. Her recycled denim dust is back in cherry tones.
If torch suiting and recycling silk cooling factor sera are cultivated, the most powerful category is the extraordinarily beautiful white pieces made from embroidered linen tablecloths and tea towels; There are also necklaces and bracelets made with spoons and forks. “It’s a lot about caring,” he said of the collection and the film. “Take care of others, take care of yourself, cook. I’m emphasizing again, [as in] Basically, how simple things are in life. I am often making this connection between the fashion industry and the food industry.
In fact, the parallel between fashion and food is one that he has considered a lot – this is not the first time we’ve discussed it and I’ve been turning it around in my head for a few days before I talk to the designer. Over the past two decades, the food industry has gone through an existential awakening where even the most passive consumer has become aware of the benefits of organic production, the dangers of processed foods, and the joys of cooking. This is an interesting model for the fashion industry.
We want to believe that it was a change of belief or consciousness – that consumers become more health conscious, more aware of the environment of the food industry. But it seemed to me that it was an aesthetic revolution like morality. Celebrity chefs like Anthony Bordine have used their charisma to make us more aware of the global palate of food, and cookbook writers like Samrin Nosrat and writers like Michael Polan have helped us understand joy in new ways as they explain political and environmental issues in the food industry. (Food, with much more success than fashion, has also begun to count as a “toxic workplace” in the kitchen.) These were friendly to Instagram, our book shelves, our eyes, and most of all our sense of taste. It is, ultimately, an expression to come forward by beauty, you might say.
That’s what’s special about Ser’s work, and this collection is so well embodied. First, when he was heavily influenced by designers like Martin Margiela (who previously had a work in sustainable design) and Jean-Paul Goltier, he discovered his own fundamental concept of beauty, in his cosmopolitan perspective. (This collection, which is true for its aesthetics but filled with mature fabrics, makes little use of its signature moon print. Commercially this right choice quickly exists in contrast to the fashion brand Ser’s business.) As beautiful as it sounds, these well-dressed, elegantly tattooed people have squid-ink pasta ortolan-bunting style, linen napkins draped over their heads in a breathtaking country home. The printed pieces of this collection যা which are not upcycled, but rather combine familiar images of the environmentally certified viscose and jersey-past Ser’s collection into pajama-like suits according to a certificate provided by Ser’s team. The man who heals and wears men’s clothes is now basically an equal part of his offering – showing another world and politeness.
With this collection, Ser’s fashion-head has nailed the mix of reality and anti-trend sophistication. It may be that in order to create change, one must create beauty, for better or for worse.
To my mind, this is for the best – our world has been very ugly for the last decade or so. I don’t even mean spiritual; I mean everything is too big, too clear, too often made or because of fear or negativity. When I asked if he was feeling optimistic, he shook his head a little hesitantly. “I think, yes, I have something more positive, or a little more hopeful than when I started four years ago,” he said. “Somehow, this proposal of a new world is now followed by far more people than just three years ago.” He doesn’t just refer to his brand’s success – “I mean, the younger generation is changing the world.”
“I’ve always been what you see today,” he said. “It’s just that it wasn’t the right moment.”