With Haute Couture SS22 Collection, Ulyana Sergeenko explores the roaring 1920s
For the Ulyana Sergeenko Haute Couture Spring-Summer 2022 presentation, the fashion house has produced a film with fashion show elements, accompanied by Jay Jay Johanson’s ‘Paris’.
The heroes and heroines of the Fashion House’s new Collection are inhabitants of the turbolent 20s – an illusion not only to the tumultuous present decade, but also to the now canonical roaring 1920s.
One can face and overcome the flaws of the world by adhering to the laws of beauty. The spirit of an evening at the theatre and other aristocratic functions, emblematic of the turn of the century ad art-deco, is implemented throught of the prism of a centurary gaze, trasforming colour-play, form, and texture into a multifaceted images, referencing to a pivotal fashion innovation brought to the global sportlight by Russian Culture.
The collection‘s impish and mischievous moood around constructivist art, modernism, and the world of sports. The viewer is introduced to new Ulyana Sergeenko heroines, confidently stepping forth in to the aestethic real of the Soviet avant-garde painter Lyubov Popova‘s artistic legacy. Pieces of the her artworks cam be recognised whitin lace corsets, embroidery patterns, and garment silhouettes.
The main symbol of the collection is the delicate hydrangea flower, which unfurls its petals upon elegant evening gowns, day-wear, determined linear geometrical motifs, flowing fabrics and forthright athletic metaphors – all exemplary of the fashion house’s signature abundance of details.
Furthermore, a new protagonist enters the house’s narrative: this year, a complete line of menswear looks debuts in the collection – from accessories to a two-piece suit. The pieces encompass the charming lustre of couture and the steadfastness of acquired taste down to the most miniscule details. The nonchalant nature of the menswear was inspired by none other than the remarkable adventurist Ostap Bender.
Constructivist canons in particular are closest to the ideas of rebuilding the world and aligning one’s life principles with the norms of beauty. However, the constructivist manifesto has permitted frivolity purely in an athletic uniform, yet a light woman’s dress stripped of ideology became in vogue once more, highlighting the key difference between the aforementioned, and the designer’s concept of SS 2022. Nonetheless, the spirit of constructivism is maintained, in that we see the heroes and heroines prepared to face any obstacles life throws at them, while conserving the dictates of beauty.
The collection places a particular emphasis upon athletics. Whistle-shaped diamondencrusted gold pendants establish a link between constructivist art and modern fashion. To strengthen this connection, the fashion house’s designers have created several types of men’s and women’s gloves, which reference sportswear models. Headpieces adopt not only the cascading crystal toilette of the 1920s, but also the silhouette of a swimming cap, bestrewn in an opulent finery of silk-petalled hydrangeas. Men’s and women’s footwear is inspired by vintage ice-skates. A clutch takes the form of a stylised, treasurable tennis racket encrusted with crystal flower arrangements and is paired with a mini-dress based on a tennis uniform. The sporting narrative extends to a knitted ‘sport instructor’ vest, seen in several menswear looks.
The fashion house continues its longstanding collaboration with traditional ateliers, incorporating complex handcrafting techniques. Transparent, royal blue and emerald-green crystal details, created at the legendary Maltsov Crystal Factory in Gus’ Khrustalny and diamondcut in tune with the collection’s linear motifs, adorn bustiers, corsets and hat closures. Yelets lace adornments, woven in floral patterns from gleaming metallic thread and crystals, decorate bustiers, corsets, and dresses. These embellishments are not limited only to details –a gown has been constructed entirely out of lace, requiring 2450 hours of work completed by 10 craftswomen from the “Kruzhevnoi Krai” atelier.
In an ensemble with Russian craftforms, signature knitting techniques have been developed in the Ulyana Sergeenko atelier. A black dress and a two-tone peach and mint gown have been knitted from fine viscose thread and beads. An intricate method – hand-knitting silk ribbons, interweaving them with crystal beads – was used in the making of a coffee-toned men’s vest and an emerald-green dress; the dress involved 240 hours of manual labour and more than 30 thousand metres of silk webbing. One of the fashion house’s favourite accessories – the boa – returns this season, composed by hand from pompoms of varying sizes, reminiscent of a string of hydrangea blossoms or tennis balls. Each pompom consists of chiffon ribbons and feathers, and the petals are embellished with crystals.
Style: @ulyanasergeenko
Video: @marty_rush
The Making Of’ documentary: @unframedproduction
Music: @jayjayjohanson
Make-up: @tochilova
Hair: @kochegov_konstantin
Models: @lissal._.l, @natalia_bulycheva, @aqua_lina_, @jackie_black_diamond, @nastyakusakina, @max_azzamov, @mr.sikorski, @VprojectModels, @AvantModelsAgency, @modus_vivendis
Collaboration: @ghz.crystal, @kruzhevnoikrai
Credits: © Courtesy of Ulyana Sergeenko
