Serena Gili completed her BA at Central Saint Martins in 2012, and has owed everyone with her final collection, which also earned the 2nd runner-up L’oréal Professional Design Talent Award. Her BA collection generated tremendous interest and press coverage including the professional validation of seeing one of her skirts on top model Cara Delevigne for ID.
Serena Gili’s BA collection has been exhibited as part of A Queen Within Exhibition Adorned Archetypes Fashion and Chess in St Louis. It’s a testament to Gili’s skills that a garment created by such a young talent fits seamlessly into an exhibition teeming with some of the most recognized pieces in fashion.
Her work has also been exhibited as part of Fetishism in Fashion Exhibition at the MOBA in Arnhem.
Serena’s MA collection was shown during the A/W 14 collections at London Fashion Week and has been covered in Vogue UK, and shot by Nick Night.
She’s been working at Alexander McQueen, and is currently working freelance with plans to continue building her brand.
ABOUT THE COLLECTION MA
Following a cyclical turn on the BA’s inspirations, the MA pieces pick up a darker imagery, focusing on punk and S&M and breaking the rules that she had so carefully set for herself.
It was almost a ripped version of the BA collection. This time again, you heard the collection before you saw it; the rat-a-tat-tat of thousands of glass beads against molded acrylic.
ABOUT THE COLLECTION BA
Discipline comprising the functions of surveillance, normalization, control, and a little later those of punishement, correction, and education is what she’s been focussing on. Disciplinary institutions like schools and convents, as well as the austere portraits of the 16th century have been her main inspiration. During the show, the skirts constrainted the models to walk slow, on the same pace, with the same hand position.
The repetition of the pattern produced by the pleating, the control of the knit through the resin which forces the body into a straight posture, and the graphic effect created by a one by one beading work, are so many techniques she used as a tribute to the distribution of the bodies and their spatial arrangement in schools, to the dedication and self-discipline of nuns in cloisters, and to their coded and hierarchical activities. This collection is her interpretation of a uniorm, embed with ritual, tradition, and respect for rules and routine.