Wheels starting to spin

Today one can say with full conviction that the wheels of the Ukrainian fashion industry have finally started to spin. But talented designers, regular fashion weeks, fashion on the catwalk, TV screens and in magazines alone do not prove that a fashion industry exists. This is just the tip of the iceberg. The very concept of a fashion industry, one that brings fantastic sums of money into the coffers of France, Italy, and the UK, entails a huge ramified system starting from the compilation of so-called trend books (in which the next season’s trends are developed in sketches and photos) and ending with the replication of a designer’s entire collection, not by selling individual exclusive items to VIP fashion hounds.

It is not fair to blame our country for the lack of a fashion industry if only because our historical circumstances were not very conducive to developing fashion. In the world’s most stylish capitals the fashion industry was fully formed only in the 1960s. Taking this into consideration, I am pleasantly surprised by the fact that despite economic instability and other negative factors that affect fashion, a fashion industry is slowly developing in Ukraine. The emergence of Trade Mark Defile, a series of fashion shows spotlighting Ukrainian brands that are slated for mass production and sold at reasonable prices, is striking proof of this. If things continue like this, the phrase “national producer” will no longer evoke shivers and associations with Soviet-style goods.

“Of course, the main selection criterion and mandatory prerequisite for a brand to get into Trade Mark Defile are independent production, mass production opportunities, and a well-organized sales and production structure,” says Olena Ketyk, head of Trade Mark Defile. “Since we invite buyers to the shows, it is expected that they will make a large order immediately for replication of one collection or another. It is very important for a trademark to be able to fill such an order.”

As a high society event, Trade Mark Defile has become the main rehearsal for the main fall-winter fashion event, Ukrainian Fashion Week, which takes place on Oct. 11-17.

Ukrainian couturier Oksana Karavanska was tapped to preside over the official opening of the fourth Trade Mark Defile. The new collection of OK’ by the oksanakaravanska brand fully met all the organizer’s requirements with regard to the parameters of her clothing line: it is quite democratic both in terms of style and pricing policy. But the designer has still not specified her prices. The motif of the collection is Karavanska’s call to preserve the nature of the Carpathian Mountains, which is reflected in the color spectrum, those seen in nature, and in prints with Carpathian scenery and slogans, like “Fashion against garbage” and “ZberezhemOK’arpaty” (Let’s protect the Carpathians).

Karavanska’s style is typically eclectic. The minimum volume for a collection to be put into production is 100 copies of each garment and 100 additional pieces. The audience was very intrigued by Hanna Babenko’s collection created jointly with a Ukrainian mobile operator and the magazine Iedinstvennaia (Unique). Instead of models, ordinary girls with no connection to the modeling business showed off the outfits. It was an interesting way to present the line. Pink and red silk and elements of embroidery make up this collection. Each garment was created specially for a particular model, and every girl took it home with her after the show.

Designer Golda Vynohradska introduced her “royal” collection Votre Majes (sic, Your Majesty). The “monarchial” fabrics used to create the collection — silk, brocade, leather, and taffeta — made the models look elegant, regal, and recherche. The Silhouette Trade Mark also tried to give Ukrainian woman queenly contours. The slogan of the collection was taken from Bernard Shaw, who declared: “Imagination is the beginning of creative work. You imagine what you wish; you will be what you imagine; finally, you create what you want!” The image of a woman rising above the daily routine was the main idea, reflected in the taffeta, linen, silk, velvet, and organza fabrics used in the collection.

Designer Olha Lynnyk called her romantically colored collection “A Marvelous Moment,” an allusion to Pushkin’s famous poem “Marvelous Moment” (Chudnoe Mgnovenie). Silk, velour, and tweed with embroidery and appliques in a soft color spectrum — gold, the color of steamed milk, mocha, chocolate, brown, pink, and snow-white — prevailed in the collection.

The Russians brought their collections, Borodulin’s and Tegin Cashmere. Alexei and Anna Borodulin see the woman of spring-summer 2008 as a hunter, and their line is imbued with the danger of weapons. The collection was headlined by short dresses in linen, cotton, and denim with black, white, and red colors prevailing. The main theme of the collection was underlined by the use of metallic elements, particularly in the accessories.

The organizers paid special attention to wedding dresses and lingerie. Tetiana Kakhian introduced bridal dresses. This designer thinks that a wedding dress should not be the obligatory white, so she introduced pink, coffee, caramel, blue, and gold colors, always accompanied by a stunning bridal veil.

Germany’s Suwen International collection of lingerie spotlighted flowers. Its trademark feature is that the designers only use ecologically pure and safe fabrics, mainly silk satin, guipure (a coarse large- patterned lace), and lace. The collection was supplemented by girdles, stockings, and garters.

The Olena Oliinyk trademark, devoted to the 1950s and hoods, one of the smash hits of the last season, concluded the Trade Mark Defile show. The designer supplemented her original line with exclusive accessories and shoes.

The organizers expect to expand the number of participants with new designers, trademarks, and additional lines of nationally recognized couturiers. Among the first candidates are Viktoria Hres and Iryna Karavai whose second lines were already introduced during Fashion Week.

“Today 90 percent of our light industry exists exclusively through customers, our raw material”

The Day’s blitz interview with Oksana KARAVANSKA.

This was the first time that you took part in the Trade Mark Defile show. Earlier, you introduced your OK’ by oksanakaravanska line during Ukrainian Fashion Week. Are there any results or summaries yet?

“It’s too early to talk about summaries. Let’s talk about them when a certain amount of buyers appear, who are interested in this production on the level the collection was introduced. In fact, the idea of holding Trade Mark Defile is very good, but lately individual designers who could not get into the Ukrainian Fashion Weeks have been taking part in these fashion shows. They introduced collections that can hardly be called industrial. This was almost haute couture with a vast amount of handiwork. Trade Mark Defile is a truly great idea and should be supported. Why shouldn’t I? On the other hand, this is further proof that we, designers, are capable of producing large industrial collections, i.e., adapted ones that can be replicated in large quantities, and, what is noteworthy, we want to do this, because today 90 percent of our light industry exists exclusively through customers, our raw material.”

In your opinion, should trade fashion shows be held as a separate event, or would it be more sensible to unite them under a single Fashion Week?

“I think that would be a good alternative because when the Fashion Seasons were just beginning, there was a single day dedicated to industrial companies, like the Dana Company or the Yunist Sewing Plant. In principle, they could not compete with designers. They have a different scope and different possibilities. But they had to reach a certain level. Afterwards, however, the plants refused to take part in the Seasons. I even did a collection for Yunist. Then they decided that they don’t need it economically. Their market segment can’t deal with Oksana Karavanska’s coats that cost 150 dollars at the most. Technically, they simply could not produce a garment designed by Karavanska. And since I was insisting on using more or less quality fabrics, the pricing policy with respect to the market segment that they were aiming at was absolutely wrong. When Trade Mark Defile appeared, I was glad that factories would once again be showing their collections. But it didn’t happen this way; designers’ names are popping up again. And since I’ve already had a second line but didn’t think it worthwhile showing it within the framework of Ukrainian Fashion Week (there are already too many people; many young designers are appearing and we need to give way to them), I tried to submit my second line to Trade Mark Defile. This was a decision that we call a form of social patronage. In fact, I don’t know whether I have gained or lost because of this. We haven’t analyzed it yet; it’s too early. Negotiations with manufacturers are a lengthy process.”

Are buyers interested in your collection?

“Yes, there are some already.”

In your opinion, what is the guarantee of a commercially successful mass-produced, not haute couture, collection?

“I regret to say this but the first thing is a standard set of game rules by which the fashion industry plays. Putting efforts into the Oksana Karavanska brand for a decade will have a positive effect, and this will be the very first factor that will make people pay attention to the clothing. There are a lot of people who want to buy outfits designed by Karavanska, but they do not have the financial wherewithal. And now an opportunity has appeared. First, the trademark should be competently positioned. Quality is indisputably the second thing because people are buying a name. They wear it for six months, and if the result is positive, they continue to buy this brand. If the reverse is true, they turn to other trademarks.”

Do you believe that the wheels of the Ukrainian fashion industry have begun spinning?

“At the very least there are already two designers, Victoria Hres and Oksana Karavanska, who are developing their collections serially, which are sewn in factories and in technical-manufacturing conditions. The process has begun, for sure. However, the wheels lack one more screw: a middle link to connect factories, shops, and designers. This is what is called a buyer, an intermediary who selects things that can be sold in stores and orders them. This is a tiny but very important screw. Therefore, the wheels shouldn’t be moved too fast because they may fall apart. A change of mentality should take place in people’s minds. They themselves will start looking for things made by Ukrainian designers, and then buyers who deal with deliveries to stores and boutiques will understand that people want Ukrainian things, that Ukrainian clothing should be bought and supplied to stores. Otherwise, buyers will not make a move. What we need is desire from ‘below.’ Then the wheels start spinning.”

FROM THE DAY’S FACT FILE

POUSTOVIT at the Dover Street Market, London

For the first time in the history of Ukrainian fashion, clothing made by our designer Lilia Pustovit will be sold at the Dover Street Market, one of the finest and most prestigious fashion addresses in the world, the designer’s press service reports. The Dover Street Market is situated in Mayfair, London’s most prestigious district. DMS is a renowned flagman in the spread of fashionable trends. The “creative zone,” the area with the most fascinating and conceptual fashion brands, is located on the fifth floor of the store.

Pustovit’s collection, part of the Poustovit Project for Atelier 1 went on sale here on Sept. 15. The collection reflects Pustovit’s style and features a black and gray color spectrum in silk dresses, blouses, and jackets made of silk and wool. These outfits will go on sale at Tokyo-based Atelier 1 and Dover Street Market stores in mid-October.