This season, Marine Serre leaned again into her passion for science fiction, and our own surreal circumstances, with a hypnotic and disturbing short film.
Realized in collaboration with the directors Sacha Barbin and Ryan Doubiago, and the composer Pierre Rousseau, the short movie, titled ‘’Amor Fati’’, (and intended as ‘’an invitation to actively embrace all of life’s pleasures’’, according to a release), centered around two characters, played by artist Juliet Merie, Serre’s good friend and long-time collaborator, and Iranian-Dutch singer Sevdaliza, who transition through three symbolic environments – a white laboratory, a desert-like landscape and an underground waterworld – searching for an elusive connection. The film invited the public to actively embrace all of life’s pleasures and adversities without judgement. The urgent need for change and adaptation was explored through the cyclical visual narrative of the film.
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Serre, who financed the film with her Andam Award prize money (€200,000), said the storyline was inspired by the alienation she felt during lockdown, but that the message was ultimately one of resilience.
In the film, the characters’s outfits evolved in function of the backdrop: second-skin face-shielding bodysuits, sapphire and cobalt blue, utility jackets and cargo pants, sharply delineated tailoring rendered in a covetable new lozenge jacquard version of her leitmotif crescent moon and a series of pieces made from recycled suiting fabrics.
With this collection Serre stayed true to her sustainable approach using biodegradable nylon and recycled moire served as the base for hyper-functional, multi-pocketed utilitarian garments and iconic accessories in a mono- chrome palette. Intimate silhouettes were made of regenerated carpets which were transformed in 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.
And finally, Serre, who has made anti-pollution masks a mainstay of her brand, embraced face coverings with variations that ranged from balaclavas to a swooping hat – similar to Cristóbal Balenciaga’s famous wedding hood from the Sixties – made from a terracotta jacquard produced with regenerated carpets, and incorporating a windshield-like visor.
‘’I think we all missed each other during lockdown. There is a need to belong today, and that’s how it’s symbolized in the film’’, she said.
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