ukrainian fashion week: olena dats
while it seems like we've been incessantly discussing ukrainian fashion week for some time (and we've got a way to go until we're through with the journey, no less), i realized the other day we haven't really gotten into too many old favourites yet this season. maybe that's because i subconsciously hold on to the ones i love most until last, but it seems like the right thing to do now to talk about one of my running gems of kiev, olena dats (Олена ДАЦЬ). her work was some of the first i came across in ukraine (see f/w 2010, s/s 2011, f/w 2011, s/s 2012), and although the designer of lovely dresses mayn't be the most aesthetically shocking the city has to offer, i've always looked on her as a good blend of the old and the new, incorporating ethnic-y touches with an equal part of modernity, and some impish avant-y flair tossed into the mix for good measure.
for her beautiful-if-quiet f/w 2012 collection, the designer's press release states that she was inspired by the concept of the "classic black dress," while "(t)he main theme in the cut is the conjugate oval line. They play a special game in almost every model. This emphasizes the silhouette in the new way, aims to hide flaws if necessary." in other words (if i understand correctly), the ms. dats wanted to couple that sweet little dress things she does so well with her almost japanese leanings (as i've said in the past, there's something in her aesthetic that feels decidedly like the more eclectic tokyo fashions) and geometry, this time incorporating the continuous circle shape in her cuts to produce a resolutely flattering silhouette.
so...seriously, that was it from a woman who has in the past chosen some rather deep and far-reaching themes for her work? i'd be a little surprised if she left it at that, too, but the ukrainian site lady tochka actually added to the mystery by asserting that the (trans.) "designer was inspired by the image of women." yeah, really, that's it. incidentally, it was a very similar theme to the one ufw-newcomer elena burba stated for her balletic and butterfly-ed range; not exactly bad, but neither particularly edifying. as i said then, aren't all womenswear collections, to some extent, inspired by ideas of the contemporary woman...yannow, like, the one they're going to be dressing? alas, there isn't much we can do, but to take that little bit and move our discourse on...
the range colour palette was, as is to be expected, largely based around black, although a gorgeous shade of carnation pink also coloured several pieces, as well as some pale gray. and of course--because this is olena dats and she can't completely forgo a print--a muted, geometric motif shaded in tones of blues and grays, with the blog be in trend arguing that it appeared (trans.) "similar to small snowflakes or thin lace." the blog also noted that the collection's textiles included alpaca and lace (as well as, i think, some silk and other lightweight sheer action). totally blond pointed out that the shoes were constructed of black patent leather, done up with little bows on the thin straps (for the mary janes) or a larger version on the peep-toe sandals.
as with most of ms. dats' work, we saw for fall a variety of frocks, from the shorter cocktail versions that were cut above the knee to those that swept the floor and something at pretty much every length in-between. there were several coats and a few skirt-and-blouse separates, all of which were equally charming, as well. draping was an important part of the collection, and the designer employed some fairly dramatic silhouettes, like the colour-blocked black-and-steel kimono dress with the cowl neck (second from below), or the ankle-length twisted pink gown (second from above) that reminded me a bit of dasha gauser's asymmetrically repurposed takes on menswear for the f/w 2010 season. for me, at least, it was a nice balance between straighforwardly-pretty and those looks more adventurous in nature.
but of course, not all the reviewers were likewise so impressed. the ukrainian site fashion show (rather harshly, i thought) sniped that the range was (trans.) "more suitable for middle-aged women than young girls. On models, the pieces looked ridiculous and [ill-fitting]. The multilayer fabric dresses did not fit the slender figures." i'm not sure where they got this from, nor do i really know why they'd argue that a ruffly bubblegum-hued and be-bowed above-the-knee dress (fourth from top) wouldn't flatter a girl in her twenties or thirties, but might a sixty year-old. quite the contrary, i personally found that while some of the looks (in particular the pink ones) or the shorter, flippy wrap dresses, say, would be perfectly suited to younger customers, while some of the more classic cuts, like a square-necked, long-sleeved draped sheath would fit pretty much any age alike.
then of course, we'd come to body size. and again, i'd argue that this is something i've always appreciated so well about ms. dats--her ability to cater to the varying silhouettes by remembering to include such in her collections. now, to be sure, as i think i hinted above, not every individual look would suit each customer, but by remembering to incorporate a bevy of styles, from conservative, to sexy, artsy, flirty, and sophisticated, i'd say ms. dats is doing quite the good job at speaking to masses of women. and although, sure, i'd maybe like to see her working some concepts a little more thoughtful, a bit more like where we found her two years ago, really, i think she leaves little to be desired with her collections as they are--from a visual perspective, at least.
(watch the complete collection video here)
