Runway

Ulyana Sergeenko Couture Fall 2014

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Ulyana Sergeenko Couture Fall 2014 Ulyana Sergeenko Couture Fall 2014-2 Ulyana Sergeenko Couture Fall 2014-3 Ulyana Sergeenko Couture Fall 2014-4 Ulyana Sergeenko Couture Fall 2014-5 Ulyana Sergeenko Couture Fall 2014-6 Ulyana Sergeenko Couture Fall 2014-7 Ulyana Sergeenko Couture Fall 2014-8 Ulyana Sergeenko Couture Fall 2014-9 Ulyana Sergeenko Couture Fall 2014-10Ulyana Sergeenko Couture Fall 2014 Source & Images Via WWD.com & Style.com

Ulyana Sergeenko Couture Fall 2014: Ulyana Sergeenko looked back to Russia’s revolutionary period, setting out to translate the political and creative turmoil into a lineup that oscillated between USSR-inspired rigidness and the folly of a Tamara de Lempicka painting. In every couture collection, Ulyana Sergeenko tells a story. This time, it was a reimagining of a ride on the Orient Express. Sergeenko’s new heroine not only crossed borders (the former Soviet republics of Kazakhstan, Turkmenistan, and Uzbekistan), but also, in a manner of speaking, cross-dressed, borrowing clothes from the men she met on her travels and mixing them with her own more feminine attire. “She could be a movie star,” Sergeenko said, “but she’s definitely a femme fatale.”

Sergeenko opened with a strict coat in black leather with worn-out effects, and quickly followed it up with a pair of luscious high-waisted pants, styled with a transparent top and a long, trailing boa. More literal references to the art movements of the era included colorful, hand-knitted mohair sweaters, an homage to Lempicka, as well as the more abstract, geometric lines of Kazimir Malevich.

At a preview a couple of days before the show, Sergeenko was keen to point out the hand-painted beaded fringe suspended from the back of a silk chemisier gown, or the way the stripes on a sheath weren’t a print but rather intarsias of narrow bands of silk. It was impressive stuff in close-up, as were the hand-embroidered cotton buds (a nod to Kazakhstan’s major crop) that decorated many of the looks.

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