Ulyana Sergeenko has long been known and loved by Parisian and Japanese bloggers and street style photographers for her authentic ultra-feminine looks, which bizarrely intertwined the hourglass silhouette, commonly called Dior’s New Look, with the charm of a Turgenev’s girl and memories of the Soviet childhood of the designer, when girls went to school in dark brown uniform dresses with black aprons (white for public holidays), and the fashionistas were inspired by models from “Burda Moden” publication, and astrakhan fur coat was a must of the winter wardrobe.
From the beginning, the “oligarch wife” Ulyana differed from her bored of satiety neighbors by commitment, hard work and talent, so alien to other inhabitant of Moscow’s nouveau riche suburbs. Yes, that was her talent: creative, stylistic and finally commercial, that made Sergeenko the first Russian trend setter of a “global scale”. Her new style conquered capricious Moscow beau monde that after so many years finally parted with D & G. And recently she started spreading her influence outside the home country. Shall you recall the long close-fitting Valentino dresses in a romantic Victorian flower, and here come to mind Uliana’s costumes of English cotton with tiny waist, creating a regal silhouette, and a fluffy skirt. A Russian doll, a countryside lady, a petty bourgeois: photographers often await Sergeenko’s appearances at the fashion week with greater eagerness than the sight of mastodons of fashion industry – editors of major magazines.
Having gained the experience and knowledge, surrounded herself with a team of top professionals and dressed all (who can afford) Russia and neighboring countries, Ulyana finally realized her dream: she organized a show of her winter collection in the fashion capital – Paris. By one o’clock at the Theatre Marigny, adjacent to the Grand Palais (exclusively reserved by Karl Lagerfeld for his show), to the delight of passers-by and photographers, gathered the female half of the Moscow beau monde. And half an hour later world renowned fashion celebrities arrived, ranging from a former French Vogue editor Carine Roitfeld to a extravagant Anna Dello Russo.
For the creation of the Paris collections the designer was inspired by Soviet, native to her childhood cartoons. Her heroine, true to her “ladylike” style, is carried into the world of vintage children’s gaming room. The favorite cotton long skirts are followed by boy’s jodhpurs and funny hussar’s shakos and micro-shorts combined with round fur hats and mittens. Fur lined coat suggests that the true luxury is sometimes hidden inside. Warm mohair sweater from the own winter street-looks of the designer and felt skirts breathe a home comfort. Floor length straight satin dress with bell sleeves and peplum is perfect for a formal occasion, while for the most daring the designer prepared several transparent outfits of chiffon and lace, worthy of the haute couture title.
The show was closed by the Sergeenko’s faithful friend, perfect Natalia Vodanova, which is currently at the peak of her glory. Natalia appeared in the image of Anna Karenina in black, flaring floor-length coat, trimmed with astrakhan, and a black transparent scarf, embroidered with scarlet flowers on the edge – the only decorative “excess” of the ensemble.
The debutant in Paris and the third in total collection of Ulyana Sergeenko became a real triumph of the Russian spirit and style. Equal to French couturiers in the quality of organization and in the sophistication of the models, the designer of the Moscow proved that Russia is rich not only in oil and gas but also in young talents, able to set the tone on the catwalks of the world.
Photo credits: Ulyana Sergeenko / Anna Marion