Silvery fur coat from our moms’ favorite in their youth astrakhan thrown over shiny synthetic body with an embroidered on a chest letter “Y”; loathers in sequins worn on mustard-colored woolen tights, gathered in an accordion on knees and ankles – habitués in wardrobes of our grandmothers; equestrian helmet combined with a belt with stockings buckles.

In the ninth fall-winter collection of Ulyana Sergeenko, shown at the Paris Fashion Week, deliberate theatricality gives way to a more pragmatic moderate kitsch.

Traditionally the designer draws inspiration from the vaults of the history of her homeland. This time it’s the sixties of the last century in the Soviet Union with echoes of Futurism, setting the tone on French catwalks of the era (helmets, shine and silver are probably from there).

However, from the former flight of fantasy, tearing last connections with reality fabulous carnival puppet look, which actually made famous Ulyana, left (almost) no trace. The numbers of hand embroideries and custom made buttons, so dear to the couturier, has diminished. While ruffles, flounces and voluminous skirts disappeared altogether. In their place came a business grey suit, pret-à-porter deluxe – the “bread and honey” for many fashion designers of haute couture, whose fantastic ideas broken down at times of harsh reality, in which basic, practical, things are sold more often than dresses for princesses.

Photo credits: Uylyana Sergeenko / Yanis Vlamos