When we think of Russian culture, we think of brilliant novelists, noble traditions, splendid aristocratic balls, the gallantry and honour of the upper-class society, their social life and morals. All this continues to inspire a lot of talents, who incorporate into their creations some of their pride in belonging, even if indirectly, to the greatness of the époque. Against the background of this heritage, Ulyana Sergeenko began to sparkle like a diamond, making it clear that the cult of elegantly dressed women does exist in Russia and prevails over day-to-day life.

In anticipation of the fashion show, one can’t help wondering what sphere of our rich cultural heritage the designer will focus on in her collection. It’s this intrigue that brings the brand’s admirers to the couture show. Ulyana’s defile is not simply a demonstration of a modern woman’s wear. It is a small performance during which the designer manages to show a splendid and many-faceted era, the time of people of spirit, Russia’s golden age honored with songs and legends.

For nine seasons we have had an opportunity to experience the fascination of Caucasian flavor, admire the unbroken spirit of a young girl after the devastation of a manor estate, travel by Orient Express with a femme fatale, and even visit Yusupov’s Palace where Pushkin looked for inspiration walking near the ponds, the home of fairytale fish with rings in their gills, and eternizing the image of Ludmila or a lovely tzarevna. We were also taken into the époque of Sixtiers, the thaw period, space conquering and scientific expeditions.

The tenth, jubilee season takes us to the roots of femininity, confident sexuality and emancipation. You can’t help admiring Ulyana’s ability to cite the country’s hard periods in her own manner and with a strong dose of perfectionism, showing the essence of a certain time but doing it very artfully, elegantly and without any sarcasm. This makes the proposed view of the time even more insightful.

The collection embraces the 80s of the last century that left no place for illusions and compromise. Some glamour of high couture has been added but I believe this is how the first wave of Soviet women’s emancipation could have looked like if the active members of the movement for the revival of women’s values Malakhovskaia, Goricheva and Mamonova, authors of the scandalous almanac “Women and Russia”, had succeeded in getting across to the Russian women the sacral meaning and significance of their role. With such an extraordinarily distinctive character and in an environment of total deficit which made women look for new solutions and materials for their wardrobe, it was possible to cultivate the aesthetics of a new Russian lady. The result was an interlacement of patch technique, folklore and even paganism to which fashion hunters resorted to following the images from the cinematic fairy tales created behind the Mosfilm scenes by hardworking dress designers to disguise the poverty of visual effects with the splendor of the décor.

This is why the influence of nature is strongly felt in the collection. Floral decorations are abundant in various combinations imitating the woods of the central part of the country. Their beauty is not exaggerated or brought to the likeness of garden flowers. Their naturalness illustrates a wild somber beauty. This beauty is found in the scatterings of hawthorn lying in faded grass where a small snake has found shelter. It is in a symmetrical crown of a thistle and geometrical whimsies of John’s wood. It draws mysterious patterns on the bark of poplars, ashes and birches and leaves a trail of white lilies on the surface of dark water. All this variety of flora is reflected in snake-shaped details and splendid embroidery on light translucent organza in blouses and on skirts in combination with draped iridescent silk of red berry, blackberry, ground-green and wood-brown shades.

Ulyana accentuates a woman’s silhouette with corsets and decorates them with flower buds. She also experiments with combinations of various fabrics from velvet to fine tulle. This difference in texture is meant to put the correct emphasis. The designer skillfully uses her favourite technique, moving from the satin accentuated waistline to loose silk drapery or multilayered jersey on the hips visually lengthening the skintight or straight skirt. Ulyana’s heroine isn’t afraid of making her way through European man-made stone jungles. That’s why aggressive notes characteristic of a warrior-woman are present in the construction: oversize collars, multilayered basques, sloping down and exaggerated shoulder girdles which look as if they protect one from thorny branches but in reality emphasize the neckline and the open collarbone. There are several variations of capes with slits for arms resembling a camouflage throw-over but with a hint of charm and refinement.

Who will go into this wilderness in search of beauty? Only a forest sorceress, a transformed Baba-yaga (a bad-dressed witch) as a popular stereotype of a Soviet woman goes. But now she doesn’t hide her true appearance behind colourful shapeless garments. While this may sound strange, even the chunky knit lace bottom of the skirt with ruffles emphasizes the audacity of the model to say nothing of her perfect figure. A translucent full-length gown with flying godets completes this transformation from an isolated witch into a forest nymph who has realized her true nature, and wearing a cocktail dress or a business costume, moves ahead with a sure step to conquer the changed world. She varies her roles and styles herself, either as a daring warrior in red garments or a guardian of a hearth in a delicate opaline gown, or a femme fatale in a black outfit consisting of a lengthened tiny knit top and a transparent charcoal skirt made of organza with a train looking as if it’s emerging from night steam fog

There is no more prejudice in the modern world leading to stereotypes and clichés that limits women’s activities. That’s why Ulyana’s young woman is so multi-faceted in her choices. Some of the reverently embraced ideas of the collection are gradually becoming iconic. There are little masterpieces among the accessories like ornate handbags which clearly originated from the Soviet avoska string-bag or sequined and embroidered gloves, or belts encrusted with buds of wild roses.

One of the oldest Parisian amphitheaters Cirque d’Hiver became a life circle for Sergeenko’s regenerated heroine. There are no parallels here with ponies or horses – they were not present either in the collection or in the show. A circus arena is one of the few places where women’s talents are on an equal footing with men’s, which has always given women an opportunity to try a variety of roles from a charming circus rider and a tiger tamer to an incredible gymnast who floats in the top catching the glances of the audience struck either by her courage or by the inadmissibility of her frivolous costume.

On her tenth season, will Ulyana Sergeenko be able to chalk up the rehabilitation of the image of femininity in Russia that was lost after many years of isolation from the world of fashion? Can she aspire to the title of couturier by demonstrating the best of her country’s rich culture, putting it forward as an attractive and commercially profitable show and drawing the support of her successful fellowcountry girl like Natalia Vodyanova? Has she already made her contribution to the emancipation movement? The answer is obvious. The From Russia brand that looks upon the history of its country with reverence and respect and translates it to all the corners of the world has long become something more that an ordinary image product in the High Fashion market. It boasts its own original and timeproved style, well-honed skills in details and a good deal of groundwork in constructions and silhouettes. All this makes Ulyana Sergeenko’s Fashion House easily recognizable and desired by the world elite.