Russian designers about their new collections

Last week The shows of Russian stamps have ended. Wonderzine summarizes the local Fashion Weeks, asking the designers themselves about what they did and what did not work, what inspired them and for whom they made the new season. In this material - the views of Alice Ruban, Victoria Andreyanova, Kira Plastinina, Ani Nebrenchina and Ria Keburia.

Alice Ruban

RUBAN

A bunch of different ideas for this collection accumulated in our heads, and in a separate folder on the desktop - we put them in order at the stage of choosing the fabric for the collection. Perhaps the day of the purchase of fabrics and can be considered a full start. We precisely represented a combination of transparent fabrics with lace, therefore we looked for just such materials. A little later, the idea to quilting a transparent organza came to mind and so add a new texture to the collection without adding a new fabric. Thus, it turned out to clearly maintain the overall color scheme and achieve an interesting effect. The collection was made for a moderately bold person, who is not afraid to overdo it with outfit and does not hesitate to see the transparency on an almost dangerous face. Plus it is, of course, a girl who is not indifferent to simply beautiful things. This collection is more meaningful to us than all previous ones. In it, we are even closer to the balance to which we strive from season to season: we make clothes wearable and at the same time new and non-standard.

Victoria Andreyanova

Work on the collection began last spring. The starting point was Federico Fellini’s Clowns. Costumes from the collection could easily belong to circus artists of the last century, although it is still more modern. This is the first collection that we created specifically for the American market, so we consulted a lot, including on materials. One of the interesting discoveries is a fabric made from blends of fibers of viscose, polyester and elastane. This is a new alternative to natural fabrics, much easier to care for, plastic and winning for the figure. The collection is distinguished by more grotesque forms compared to previous seasons, which, of course, is due to circus themes. Structurally, it is built on the contrasts of volumes (small top - spherical bottom, and vice versa) and colors (structural details of contrasting colors inside the outer shape). Beauty is an ephemeral concept. Let those who succeed and what not, judge those who endowed themselves with this right - to judge. Despite the fact that this collection is not devoid of shocking, I count more than ever on its commercial success.

Kira Plastinina

LUBLU Kira Plastinina

Work on this collection began at the end of last fall. This is a story about a gentle girl who lives in her own world and controls it with the help of digital technologies, creating him the way she would like to see him: a bit unreal, a little bit exaggerated, mystical, a bit strange.

I would not like to put some kind of framework and limit the circle of potential owners of things from this collection. I built it in such a way that everyone - regardless of any social and status parameters - could find in it something for himself. Despite the abundance of prints and things of unusual cut and textures, there are many basic things in the collection that are so necessary.

I think this collection most clearly reflects digitalization - one of the most pronounced trends in modern life, relating not only to the fashion world, but also to everything that surrounds us. People are finding more and more practical applications for social networks and integrating them more and more into their lives, not getting tired of building new assumptions about how far this trend can go and what it will lead to. Of course, this can not affect their appearance. But what is interesting, with all this, there is also a craving for naturalness and nature, untouched by technical progress, as more and more forest and flower motifs appear on the prints of clothing. I am equally interested in both these trends, which is why I actively used them in my new spring collection.

Anya Nebrenchina

Roi et moi

In my head, work on the collection begins long before the official schedule of the seasons. Images of the collection of the spring-summer 2014 began to appear at the end of last summer. It was very easy to work on the collection: most likely it was the state of carelessness, happiness and ease that I so wanted to convey to the collection, and the desire to create some kind of flamingo fly airlines that would take you to distant paradise given. This is a very sensual collection, woven from aromas, flowers and experienced happiness and love. I usually order materials at the Première Vision exhibition in Paris. This year I literally selected fabrics according to the images in my head, only a few of them inspired me to create models. The collection has a lot of knitwear, feather and lace trimmings. The colors are familiar to the flamingo environment: gulf, sand, pink sunset, reflections of fish scales and, of course, numerous shades of pink, which this bird is so famous for. Our heroine, as always, remains a girl who is not afraid to be herself, she, like a flamingo, confidently holds her back and spreads her wings over a big city. This collection is much easier in its essence and idea. I am a perfectionist, so I always have one answer to this question: of course, it can be better. From the collection to the collection, our clothes become more perfect: we work on details, finishes, tailoring and, of course, the design itself. As soon as this progress stops, I will retire and finally start writing my memoirs.

Ria Keburia

Ria keburia

I was inspired by the film Mon Oncle Jacques Tati, which talks about the revival of modernism in the early 1960s. This is the French mock postmodernism, which I like. Fabrics, as in my previous collections, are very simple and wearable - this is flax and organza. Details of the collection are reminiscent of the house of Jacques Tati. These are clothes for fans of grunge, artistic and creative people. I keep my style, but my heroine changes her habitat: from a religious kingdom she falls into the world of modernism. It seems that I managed to catch the golden mean between art and fashion, without ceasing to create.