In Conversation: Designer Marine Serre on Fashion's Future

Marine Serre's Paris studio occupies a converted warehouse in the 11th arrondissement, its industrial bones softened by natural light and meticulously organized materials. Rolls of upcycled fabrics line the walls—vintage scarves destined for signature bodysuits, deadstock denim awaiting transformation. At 32, Serre has achieved what many designers twice her age haven't: building a globally recognized brand that's both commercially successful and genuinely committed to sustainability.

We meet on a gray November afternoon, between her spring/summer presentation and upcoming production deadlines. Despite the schedule pressure, Serre is relaxed, thoughtful, choosing words carefully when discussing her work's complexities. The conversation that follows covers her design evolution, the challenges of scaling sustainable practices, and her surprisingly optimistic view of fashion's future.

On Beginning with Purpose

"I never wanted to create a traditional fashion brand," Serre begins. "From the start, the question was: how do I make clothing that exists within current systems but challenges their assumptions? Not fashion as usual with sustainability tacked on—sustainability as the foundation that determines everything else."

This philosophy manifested immediately in her breakout collection after winning the 2017 LVMH Prize. Rather than rushing to scale production, Serre focused on developing upcycling infrastructure—partnerships with textile waste facilities, processes for deconstructing and reconstructing garments, quality control for inconsistent materials. "Everyone wanted me to grow faster," she recalls. "But I knew if we rushed, we'd compromise the entire concept. Slow, intentional growth was the only way."

The Business of Sustainable Fashion

Serre is frank about sustainable fashion's business challenges. "Upcycling is expensive. Sourcing deadstock takes time. Production is slower because every piece is slightly different. These are real constraints that affect pricing and margins." Her brand's solution combines upcycled pieces with regenerative materials—a balance between radical sustainability and commercial viability.

"I don't believe luxury fashion can be cheap," she continues. "Quality materials, fair wages, environmental responsibility—these cost money. The industry trained consumers to expect fast fashion prices for everything, but that model is fundamentally broken. We need to reframe: better to own fewer things that last than endless disposable clothing."

"Sustainable fashion can't just be for wealthy consumers. That's why I focus on making pieces last—one well-made upcycled jacket you wear for ten years is more sustainable than any cheap 'eco' fast fashion item." — Marine Serre

Design as Problem-Solving

When discussing her design process, Serre describes it as problem-solving within constraints. "Working with upcycled materials means you can't design first then source fabric. You design based on what's available. This limitation has become my creative engine—how do I make something beautiful from this specific constraint?"

Her signature crescent moon motif emerged from this approach. "I needed a unifying element that could appear on different materials and garments, tying disparate upcycled pieces into coherent collection. The moon became that thread—and it resonated because people found personal meaning in it. That's design's magic: solving practical problems while creating emotional connection."

Scaling Without Compromising

As the brand grows, maintaining sustainable practices becomes more complex. "Every growth stage requires new solutions," Serre explains. "Small-scale upcycling is manageable. But as demand increases, you need systems that maintain quality while scaling. We've developed technology that helps—AI sorting textiles by composition, pattern-making software that maximizes upcycled material use. Technology can support sustainability if applied thoughtfully."

She's adamant about transparency: "We publish detailed sustainability reports, show our supply chain, admit where we're not perfect. Greenwashing happens when brands make vague claims without evidence. Real sustainability requires honesty about challenges and continuous improvement."

Optimism as Radical Stance

Despite fashion industry's environmental crisis, Serre maintains surprising optimism. "Despair is paralysing. I choose optimism not from naivety but from necessity. If I didn't believe change was possible, I couldn't do this work. Optimism is radical stance—it's saying we can create different future, and I'm going to spend my energy building it rather than mourning what's lost."

She points to industry shifts: major brands launching resale platforms, designers prioritizing longevity, consumers demanding transparency. "Change is happening. Not fast enough, but happening. Every sustainable brand, every conscious consumer choice, every designer prioritizing responsibility—these accumulate. We're building momentum."

Advice for Emerging Designers

For designers starting out, Serre emphasizes clarity: "Know what you stand for before you launch. Your brand's values should determine every decision—materials, production, pricing, marketing. If sustainability matters to you, build it into your business model from day one. Retrofitting sustainability into existing brands is possible but much harder."

She also stresses patience: "The industry pushes constant newness—four seasons minimum, often more. But that pace is unsustainable creatively and environmentally. If you can, resist it. Make fewer, better things. Focus on building something lasting rather than chasing hype. That's how you create real change."

As our conversation concludes, Serre returns to her workstation where fabric samples await decision. Before we part, she offers final thought: "Fashion can be force for good or harm. That choice belongs to everyone in the industry—designers, manufacturers, retailers, consumers. I chose to try making it better. The work is hard, often frustrating, but also deeply meaningful. I wouldn't trade it for anything."

Walking back through Paris streets after leaving her studio, I consider Serre's optimism. In an industry often criticized for environmental destruction, here's someone actively building alternatives—not just talking about change but implementing it, one upcycled garment at a time. Whether her approach can scale industry-wide remains uncertain. But watching her work, it's impossible not to feel that optimism might be justified after all.