Runway

The COAT SS27: Opera was Never Built Around Being Understated

Katya Silchenko presented Opera, her collection for the COAT, at the National Opera of Ukraine during UFW SS27: corsetry, sheer fabrics and theatrical drama in service of a femininity that finally writes its own rules

By Bhagya Rose

Updated 10:42 am EDT, September 9, 2026

Published 10:41 am EDT, September 9, 2026

Photo Courtesy: Ukrainian Fashion Week
Runway Photographer: Volodymyr Bosak
Backstage Photographer: Serhiy Khandusenko
Special Thanks: Yelyzaveta Ushcheka

Updated 10:42 am EDT, September 9, 2026

Published 10:41 am EDT, September 9, 2026

Photo Courtesy: Ukrainian Fashion Week
Runway Photographer: Volodymyr Bosak
Backstage Photographer: Serhiy Khandusenko
Special Thanks: Yelyzaveta Ushcheka

Ukrainian Fashion Week SS27 opened with a generous amount of drama. The beauty of it was that the event demanded every bit of the extravaganza, and needless to say, the designers delivered. One of the biggest examples in this regard is the collection Opera by Katya Silchenko, made for her award-winning womenswear brand, the COAT.

What Happens When Restrictions Loosen

Now there is something beautifully fitting about presenting a collection by the name Opera inside an Opera House. However, for Katya Silchenko, the National Opera of Ukraine was more than just a dramatic backdrop for her collection. It was very much a part of the whole narrative.

Opera at first glance is a balanced and unmistakably feminine collection that showcases exceptional technical prowess and meaningful restraint. It examines the woman and the transformation of her role in society – from the overly prescribed femininity of the Victorian era to the free and arguably wild version of today: a woman who defines her own rules. The historical reference is familiar and on point, but Silchenko’s collection is not about recreating the past. It is about questioning the restrictions; it asks what happens when the imposed restrictions begin to loosen.

The outfits in the collection make this transformation abundantly visible, which is what makes it stand out as an empowering statement.

Corsets Reimagined

Lots of corsets and corsetry-derived details, intentionally crafted voluminous silhouettes, and dramatic drapes – these elements recall an era in which the female body was a subject of immense scrutiny and control. However, Silchenko cleverly introduces subliminal but solid elements of rebelliousness and non-conformity, implying a deeper portrayal of the changing woman. The conventional Victorian shapes are tastefully interrupted by transparency, sheer fabrics and exposed skin, sportswear details and contemporary construction. Victorian undergarments peek through transparent “naked” dresses, corset structures morph onto jackets and into half-done bodices, dramatic dresses appear in traditionally sporty fabrics. In a way, the collection seemed to acknowledge the past, but made it clear that it no longer dictates the rules.

If one were to ask what the most compelling aspect of Opera is, it would be the intentional contradiction in the narrative, not the extravagance itself. It seeks to redefine restrictive clothing from the perspective of a woman who has agency over her body. The collection makes restrictive clothing desirable and beautiful while keeping the feminine power intact. Put together with the theatricality of powerful clothing, it reclaims the elements of restraint with a strong sense of empowerment.

In terms of the constitutional elements, there is indeed no shortage of spectacle. One of the dresses incorporates more than 50 corset structures, while a jacket is assembled entirely by hand using more than 15 types of lace. Capes are structured with rigilene, and many of the looks combine multiple varieties of beads, sequins, and bugle beads.

Opera's Message of Ownership Over Excess

At times, however, the theatrical aspect of the collection seemed to overpower the message. With such elaborate construction and a setting already loaded with grandeur, certain moments from the presentation made it feel like Opera was a little too determined to announce its relevance. The concept and thought are usually strongest when historical references combine subliminally and quietly with contemporary ideas, rather than when the spectacle itself dominates.

But perhaps the extravagant theatricality is a part of the narrative. Opera as an art form was never built around being understated. Besides, Silchenko’s brand deliberately chooses not to offer a single, predetermined interpretation of her collections. There is enough room for every onlooker to discover something of their own through the assemblage.

In that sense, the choice of venue is particularly effective. The National Opera of Ukraine has survived political upheaval, war, and profound social change itself, and still continues to function as a place for the arts and performance. Against that story, Silchenko’s narrative of transformation assumes more depth and dimension. Together, they convey the stark, staring truth that institutions, women, and art forms can change drastically without losing their inherent strength.

Opera clearly is not about escaping or disowning femininity. It is about taking full ownership of it. Silchenko doesn’t boycott the corset, the drama, or the extravaganza. She simply gives the women wearing them the final say.

The Collection

Bhagya Rose

Editor, Fashion

An introverted personal stylist and writer, Bhagya has a flair for dissecting runway looks and translating them for real life. When she’s not analyzing colors, silhouettes and putting together OOTDs, she spends time reading, shopping, and taking care of her little fur-gang.

Tags: Ukrainian Fashion Week, Ukrainian Fashion Week SS27

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