Feathers, lace, and crystals: Ulyana Sergeenko presented a kaleidoscope of looks inspired by Hollywood films about cabaret and dance shows. The bright, life-affirming Haute Couture collection is influenced by French stage chic, the costumes of film divas, and circus aesthetics. The color palette is dominated by combinations of red and fuchsia, blue, coral, deep violet, and black-and-white accents. The joyful zest for life is evident both in subtle cinematic references and nods to phenomena like the famous Parisian cabaret "Folie Bergère," particularly in the detailing: carved bone figurines, original cigarette holders, and ironic elements custom-made in Gus-Khrustalny.
The photoshoot in Paris was conducted by Elizaveta Porodina, with Natalia Vodianova in front of the lens. The styling of the story was handled by Viktoria Sekrie. Ulyana's muse appears as a superstar in magnificent concert costumes, swaying feathers on an extravagant headdress, stepping onto the stage in harmony with sparkling stones and jingling pendants. The fluttering of scallops and the play of satin ruffles evoke old Hollywood, the costumes from the 1948 film Ladies of the Chorus, and the whimsical Broadway shows of Ziegler.
The heroines of the collection are legendary actress and socialite of the last century, Zsa Zsa Gabor, and the dazzling French ballerina Zizi Jeanmaire, easily imagined in a refined maxi dress made of sequins and silk chrysanthemum petals, a satin fitted jacket with a shawl collar, or a hand-knitted corset dress with beads and voluminous ruffles.
One of the sources of inspiration for outfits made from velvet, flowing muslin, chiffon, silk, and satin with rich stone embellishments, embroidery, and appliqué were the vintage archives of circus tours and dance shows of the 20th century. Inlaid fez hats with large feathers and pompoms, straw fedoras, shiny headbands with marabou, and delicate beaded lace bonnets transport us to the era of cabaret.
This season, Ulyana introduced items with the illusion of nudity into the couture wardrobe, allowing one to appear covered only by the sparkle of crystals resembling sea droplets, much like a breezy Venus. Complementing this elegant nudity are fully embroidered sequined corset evening dresses, pink and black vintage fur tailcoats, and asymmetric dresses with drapery.
Her own line of footwear, as an indispensable part of the couture collection, includes both classic mules with pompoms, bows, and crystals, as well as high-heeled shoes seemingly weathered by time on the Broadway stage and the mirrored parquet of theater halls. One of the most theatrical elements is the thigh-high boots with suspenders. The collection would not be complete without a range of accessories, from mittens and mufflers with paws to crocheted totes with crystal chickens, clutches, and jewelry.
Bags, to which the couturier always pays close attention, are especially refined and intricate in this collection. A clutch adorned with a luxurious net bow, a bag made of beads and crystal figures, and the signature horn-shaped bag on a chain in deep wine and black colors, with circus-style decor, inlays, precious embroidery, and tassels. An elaborate silk bag in the shape of a carousel is complemented by striking details, including hand painting and embroidery, as well as a silk pompom.
Alongside multilayered chiffon ruffles, shimmering embroidery, and hand-knitted beaded and crystal fringes, the main focal point of the collection is the pompom, a reference to circus shows. These elements, which adorn hats, dresses, and accessories, proved to be quite complex, requiring hundreds of hours of work and original design solutions.
The spirit of the era is captured through jewelry monocles, cuffs, earrings, cigarette holders with a flower-shaped clasp, and even walking sticks. In large necklaces, a special mounting technique is used for massive stones based on antique jewelry references. Ulyana Sergeenko's fashion house remains true to its connection with the culture of folk craftsmanship, incorporating unique manual techniques into couture aesthetics and blending traditional folk arts with the designs of the atelier's technologists. Yelets lace forms the base of crystal-embroidered bodysuits and corset nets, and dresses are decorated with beloved Gus-Khrustalny elements, such as cat faces and entire compositions of hearts. Several types of hand knitting add special elegance to the decorations. Classic hand-knitted delicate threads with beads and crystals make gloves and corsets unique fashion pieces. Several models are crafted using an especially complex Lunéville technique, combining embroidery with crochet on delicate fabrics, requiring flawless attention to the reverse side.
A signature achievement of the atelier's artisans is the stunning scarlet flower cape made of netting, fully embroidered with pearls and crystals, and adorned with chiffon flower clusters, taking around 700 hours of handwork to produce.
