Ulyana Sergeenko entered darker territory for spring, her ubiquitous references to her homeland, Russia, less of a pastiche in this collection with its Victorian gothic mood and Cossack folk costume inspiration that nodded to Sholokhov’s novel “And Quiet Flows the Don” and the 1957 movie of the same name.

The presentation opened with a film, “Sisterhood,” shot by Ellen von Unwerth, set against a backdrop of snowy landscapes, dilapidated mansions and magic rituals. Vintage lingerie-inspired bodices made by Cadolle were combined with full, flowing skirts and ruffled blouses, adorned with embroidered landscapes, floral patterns, vintage lace and silk fringing.

Several looks were given a more modern touch by cropping their shapes, as on a deep pink embroidered jacket or a gold top with graphic floral embroideries in contrasting black. A forest green jacquard gown was open at the front, a black embroidered tulle dress given a quilted panel, while a white embroidered girdle was worn over a coral coat dress.

Styled with heavy lace-up boots and embroidered balaclavas created in collaboration with Stephen Jones, a rebellious streak underpinned the collection, giving it an edge intended to evoke feminine strength and bonding.

By  on January 21, 2019

Ulyana Sergeenko entered darker territory for spring, her ubiquitous references to her homeland, Russia, less of a pastiche in this collection with its Victorian gothic mood and Cossack folk costume inspiration that nodded to Sholokhov’s novel “And Quiet Flows the Don” and the 1957 movie of the same name.

The presentation opened with a film, “Sisterhood,” shot by Ellen von Unwerth, set against a backdrop of snowy landscapes, dilapidated mansions and magic rituals. Vintage lingerie-inspired bodices made by Cadolle were combined with full, flowing skirts and ruffled blouses, adorned with embroidered landscapes, floral patterns, vintage lace and silk fringing.

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