Marine Serre Final Chapter Campaign SS26 CHAPTER III

For Spring Summer 2026, MARINE SERRE returns to what lies at the origin of her work: the garment as necessity, as gesture, as protection. Titled THE SOURCE, the collection embraces a wardrobe built with intention, where craft, transformation and responsibility meet a sharper sense of sensuality.

Across the season, silhouettes move between structure and fluidity, day and evening, ease and precision. Regenerated and upcycled materials anchor the House’s commitment to circularity, while refined construction, from jersey second skins to sculpted denim and worked leather, reaffirms MARINE SERRE’s language of modern elegance: functional, intimate and quietly powerful. From this approach emerges the Spring Summer 2026 campaign.

Friend of the House Ester Expósito stands at the forefront of the campaign, embodying a vision of the MARINE SERRE woman: instinctive yet self-possessed, sensual without excess, confident without performance. She brings a calm intensity that resonates with the collection’s spirit. Grounded in her body and fully present in her gestures, she inhabits the clothes rather than performing them. Her presence reflects a generation moving fluidly between vulnerability and control, softness and authority, a femininity that is intimate, contemporary and assured. Alongside her, model Momo Ndiaye introduces a complementary masculine presence. With his natural elegance and understated strength, he brings balance to the narrative, expressing a quiet confidence and refined ease that echoes the collection’s dialogue between structure and instinct.

Marine Serre SS26 Chapter III, the campaign unfolds in three chapters, each offering a distinct interpretation of the collection. Chapter II introduces a cinematic dimension through a short film directed by Elora Thévenet, conceived as the meeting point of three strong women: Marine Serre, Elora Thévenet and Ester Expósito. Bound by long-standing friendships and a shared sensibility, the three come together through this film to explore a vision of contemporary femininity — instinctive, free and deeply embodied. The project emerges as a space of creative dialogue between designer, director and muse, where movement, presence and emotion converge to express a femininity that is both intimate and self-possessed. Alongside this filmic chapter, the photographic narrative — shot by Sarah Piantadosi at the Hôtel Grand Mazarin in Paris — continues to unfold within the same setting. Following Ester across the campaign, the imagery traces evolving states of femininity — instinctive, reflective, and then fully owned — within a lived-in interior where presence takes precedence over display.

The third chapter returns to the intimacy of the beginning, but something has shifted. What first appeared as instinct has now become certainty. The body no longer hesitates, no longer withdraws. Femininity is no longer something discovered in fragments, but something fully assumed.

The atmosphere remains quiet and interior. The same lived-in setting returns, yet it feels sharper, more defined. Light cuts more directly through the room, gestures become more deliberate, and the silhouettes occupy the space with a new sense of control. Ester no longer seems suspended in a private moment. She inhabits the room entirely, with a calm assurance that needs no explanation.

The visual language remains close to the body. A black knit dress traces the silhouette with fluid precision, interrupted only by a golden Moon jewel resting at the chest, like a discreet point of light. Elsewhere, the House’s iconic black flocked mesh catsuit reveals the body through transparency and texture, clinging to it like a second skin. The body is never hidden, never constrained. It remains at the center, fully present, fully owned. Throughout the chapter, garments continue to follow the logic established at the beginning: clothing not as transformation, but as extension. Yet here, structure becomes more pronounced. A fitted black silhouette sharpens the line of the body, while fluid draping and transparent layers preserve a sense of instinctive sensuality. Day and evening blur together once again, but with greater intensity. The silhouettes no longer suggest presence, they affirm it.

Alongside Ester, Momo introduces a grounded masculine counterpart. Dressed in an all-over-moon sand denim ensemble, softened by wear and constructed with ease, he brings a quiet stability to the chapter. Worn across the body, the taupe Moon Messenger bag reinforces the graphic identity of the silhouette while echoing the collection’s dialogue between utility and refinement.

Accessories punctuate the chapter with a stronger presence. Ester carries the Mini Aurora bag in black leather, compact and sensual, held close to the body like a familiar object. In the still lifes, the Eclipse bag in sand leather printed with the all-over-moon motif appears almost sculptural, while the Strike bag in black embossed leather asserts a darker, more architectural presence. Familiar House codes return with greater confidence, anchoring the chapter in a femininity that is intimate yet fully self-possessed. The principle remains unchanged: the garment is conceived as a second skin. Nothing is added to create a character. Nothing is hidden to soften it. The clothes do not perform. They reveal.

With this final chapter, THE SOURCE comes full circle. What began as instinct becomes self-possession. Presence becomes power. The story returns to its origin.