In the Philosophy fall show today, Lorenzo Serafini referenced the culture of Berlin in the ’20s during the Weimar Republic, a time of democratic rebirth after the hardships of World War I. It was a period of rich cultural experimentation and phenomenal artistic accomplishments, which lasted until 1933, when Hitler gained power. With events in Ukraine showing how fragile the idea of a free society still is, the reference sounded à propos—but also ominous and unsettling.
During the Weimar Republic, cabaret was a popular artistic expression, both political and louche. Serafini went all out in his representation of the languid atmosphere of a Berlin nightclub, plunging his show venue into husky darkness, and entrusting French artist Luc Bruyère a.k.a. Lucky Love to perform live. A gay disabled musician and model, he gave an emotional rendition of “La Bambola”, a 1968 hit by Italian singer and gay icon Patty Pravo.
Serafini always likes a good layering of references; he was also attracted to painter Jeanne Mammen, who was active in ’30s and ’40s Berlin’s LGBT artistic and social scene. Her portraits of women she encountered in lesbian nighclubs and bohemian bars were remarkable in their raw sensuality. They gave Serafini a sort of canvas for the images he wanted to convey in the show. To better connect with the now, he also threw in a dash of punkish irreverent noise à la Siouxsie Sioux, filtering this intoxicating mix through the languor of his romantic lens.
“I wanted something emotional, intimate, emphasizing diversity, like the atmosphere in a Weimar club,” said Serafini. The cast reflected his desire to be part of the ongoing conversation on gender fluidity and inclusion, and he gave the collection a decadent vibe, louche and tinged with a daring attitude that seemed like a first for a designer who is usually more conventional in his expression.
The mashup of mainly evening pieces—chiffon dresses slashed to reveal sexy underwear, ’20s minidresses with breasts thinly veiled by delicate crystal nets or flimsy chantilly lace, sensual mermaid numbers cut on the bias with fluffy feathered sleeves—felt like a theatrical, exhilarating exercise in self-expression not only from a fashion perspective, but for Serafini himself. It felt liberating, deeply emotional and very personal.
