For the first time ever, Alena Akhmadullina did not include fur in her collection. The Moscow-based designer has slowly been learning the U.S. market and the absence of even a slight fur detail was refreshing. (After all, it seems a bit impractical to wear the hefty material in the spring.) Still, Akhmadullina’s ornate embellishments and prints—which are based on fairy tales—were present. This time, though, they appeared in a more pared-back manner. A green shirtdress with rich embroidered patches on the chest and a black suit coated in a constellation of gems were two standout examples.

Also, a new introduction to note: Akhmadullina typically focuses on Central Asia in her collections, but she’s gone further East this season and included several cheongsam-style pieces. There was a white cropped jacket that used the traditional piece’s knot buttons to line the arms, creating an adjustable bell sleeve. The knotted buttons were also used as a clever way to detach and reattach sections of some dresses. Take the gown in Look 59: A glitzed-up woman in Moscow might want to sport the full-length version of the patchwork-type dress; in the States, the wearer might want to opt for a more casual, shortened style.

Some pieces were a bit too busy, such as a loose dress that had threaded webbing down the décolletage. Simpler silhouettes cut closer to the body worked better here and allowed Akhmadullina’s couture-like touches to be the focus. A stunning silk simple wrap dress had a panne technique that made its floral designs appear as if they were lifted velvet. Akhmadullina’s decision to go the less-is-more route is working well for her and is a path she should continue to explore.Read more at:http://www.marieaustralia.com/evening-dresses-online | http://www.marieaustralia.com/formal-dresses-shops-sydney