In family. This was the farewell to Elsa Serrano. Her three daughters, Roxy, Belén and María Soledad, some grandchildren and sons-in-law. Outside the private cemetery of Pilar, given that the sanitary protocol does not enable it, a collaborator also grieved, and also one of her friends, Graciela Pérez Lastra. The rest, as has happened since the pandemic broke out and preventive isolation was regulated, was through social networks and in the media on its different platforms. Friends, former models, famous ex-clients and other low-key ones, and especially her colleagues in the national fashion, expressed messages to remember the moments lived with her or phrases of goodbye. To the memory was added the pain of how her death occurred. As Marcela Tinayre put it in Reperfilar, the Perfil news program, “No one can deserve such a cruel death.”
According to the official report of the tragedy, what caused the fire that completely destroyed the apartment and ended the life of Elsa Serrano, was a “malfunction in the air conditioning” that generated a short circuit, which “dripping” set fire to the mattress and room. The fire was raging and the designer’s room was completely destroyed, the floors incinerated and the walls peeling. The autopsy determined that he died from “asphyxia from smoke inhalation.” The combination of something that could have been resolved in another way resulted in a fatal outcome.
Unforgettable. In a limited market such as Argentina, Elsa Serrano is one of its icons and has earned her place in the history of fashion. Especially since the beginning of democracy in 1983 and with a heyday in the 90s, she was a reference. Her shows had the maximum media coverage and added to a charismatic personality, her name and brand were part of the style of almost two decades.
To that, the list of famous clients: Susana Giménez, on television she wore clothes from almost all designers, but outside of television almost exclusively designs by Elsa Serrano. Also Norma Aleandro, who made the dress she wore to receive the Oscar for La historia oficial, without even trying it on, was one of her clients. Also on the premium list were Mirtha Legrand, Susana Rinaldi, Gabriela Sabatini, Lucía Galán, Graciela Borges –who although she was the muse of Gino Bogani, chose Elsa Serrano for the entire wardrobe of the film El infierno so feared–, Claudia Villafañe, Amalita Fortabat, used some of her designs; and of course, Zulemita Menem, who especially in the second presidency of her father, had Elsa Serrano as exclusive designer. That relationship was damaged by an unpaid sum, but eventually the friendship was settled. The end of the Menemism and the economic debacle dragged several Argentine companies into bankruptcy; also that of Elsa Serrano. To this she added the divorce from her second husband, Alfredo Serrano. The changes in world fashion placed Elsa Serrano in another space and although she remade herself, other names in fashion took hold and new brands occupied the first line. But her place in the history of Argentine fashion is immovable.