Fall Couture 2014

Ulyana Sergeenko

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Ulyana Sergeenko Couture Fall 2014

Ulyana Sergeenko Couture Fall 2014

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  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014
  • Ulyana Sergeenko Couture Fall 2014

Ulyana Sergeenko Couture Fall 2014

The designer looked back to Russia’s revolutionary period, setting out to translate the political and creative turmoil into her couture lineup.

Ulyana Sergeenko looked back to Russia’s revolutionary period, setting out to translate the political and creative turmoil into a lineup that oscillated between USSR-inspired rigidness and the folly of a Tamara de Lempicka painting.


Sergeenko opened with a strict coat in black leather with worn-out effects, and quickly followed it up with a pair of luscious high-waisted pants, styled with a transparent top and a long, trailing boa. More literal references to the art movements of the era included colorful, hand-knitted mohair sweaters, an homage to Lempicka, as well as the more abstract, geometric lines of Kazimir Malevich.


Elsewhere, a whiff of Tsarian Russia swept through the designer’s beautifully crafted, kaftanlike coats featuring delicate sequin embroideries and either frisky ostrich collars or generous fox-fur trim.


And while they clearly did not fit into Sergeenko’s reference point, she could not let go of her signature Fifties bombshell silhouettes, including silk and lace lingerie dresses and full bustier gowns.

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