The Vogue writer on leaving New England for Crimea and the end of the post-Soviet aesthetic

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Over the past two years, we have seen a rise in interest in what is known as the post-soviet aesthetic. Originally inspired by the Moscow skaters’ outfits and the fervent memories of the 1990s; Now, Gosha Rubchinskiy’s style empire is expanding rapidly, and the label on the mass market often USES Cyrillic alphabet, and the Soviet poor but ruthless style has finally become mainstream. In dozens of cover in the tide of fashion writer, Vogue of its American Satenstein earnest attention to this topic and a wide range of professional knowledge obviously is very outstanding, is far far beyond the scope of the hype.

From the beginning of her family history, Satenstein fell in love with the strange and wonderful world of eastern European style from the very beginning of her career. Since then, her support has led to the rise of a large number of incredibly diverse talent in the region. But for Satenstein, it’s not just about fashion. It is also about invisible cultural history, such as the ethnic dress heritage of Crimean tatars. A new starting point for Russia’s emerging brand to join the feminist struggle; Or the architecture of contemporary tbilisi. For the “new Oriental top 100”, “Calvert” magazine introduced to Satenstein the future of post-soviet fashion and its future prospects.

Over the years your work has exposed many talented people from eastern Europe. What are your interests in Russia and Ukraine?

My initial interest in Russia and Ukraine was rooted in my roots. My great-grandparents came from western Ukraine, and my grandmother from Kiev, but she doesn’t speak Russian or Ukrainian – just in the words of yi. I was always fascinated by her story, and she escaped from a villain who murdered her father. In my third year of high school, a non-profit exchange program offered a year abroad in any country in the world. I can’t wait to get out of my town in New England, and I decide to go to Ukraine – or to the former ukraine-crimea’s aloushita. The situation was incredible, with many armenians and Crimean tatars. When I decided to live there, my grandmother could roll over her grave because she hated the country; But I like it. I have a great host family who regards me as my family and still considers me a family.

In terms of fashion, it was a small town in the mid-2000s. I’ve never seen anything like this: women walk to the supermarket in high heels and wear animal-print headdresses. Everything was trapped and everything was marked. This is the definition of “distorted luxury”. After the collapse of the Soviet union, people just wanted to show off, but only they could afford it, and there were only so many channels in such places. In Alushta, people will sell most of the production of idle markets shopping. In college, I studied in st Petersburg for a year. There, I was introduced to a more urban underground, another scene – I think you would call it chic. Another aspect that comes with it is fashion: retro shopping. In aloushta, second-hand goods are considered taboo and in st Petersburg they are very popular. We go to the second-hand market every weekend, eat a fat pie, go to shopping, and then go to all of these artifacts from the Soviet union and the early nineties. The combination of these two environments is the catalyst for my focus on this area.

In recent years, we have seen a surge in interest in eastern European fashion. What do you think will affect the global stage?

Like any volatility, eastern Europe has had an impact on global markets. It’s been for a while – although I don’t think it’s a moment like this. Jean Paul Gaultier has quoted this view several times: he was the subject of Russian constructivism in his collection in the fall of 1986/1987. Guess what? He USES Cyrillic, the former Gosha! He even included it in his collection for the 30th anniversary of the spring of 2007. John galliano also cites Russia, and valentino also cites Ukraine. There was also JW Anderson in the fall of 2015. But now more than ever: last season, several designers cited Russia and even Kate Spade in their series. The reversion of the hammer and sickle made plays on Stella Jean and Gucci. I have referred to in the articles, the American brand Heron Preston produced “С т и л ь” turtleneck. The impact has hit the commercial market.

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