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Protectionism or Free Trade. National Clothing Markets — Protect or Not Protect
Grand Hall
Photos: https://disk.360.yandex.ru/d/tB_OE9cULnf14A

"For years, there was a widespread belief that quality products sell themselves. This is fundamentally incorrect. Understanding how to effectively market and sell is both important and necessary. While our cultural code doesn't traditionally encourage self-promotion–even boasting is uncommon–I firmly believe we must actively champion our brands. In the past, nearly all brands used non-Russian names, but now we see increasing numbers of brands using Cyrillic script or Latin letters with Russian words. Today, declaring 'I wear everything Russian' is not a source of shame. On the contrary–it has become a point of pride," noted Mikhail Khomich, Deputy Director of the 'New Business' department at ASI, Chief Strategist at Veb.rf.

The session participants included Mikhail Khomich, Deputy Director of the 'New Business' department at ASI, Chief Strategist at Veb.rf. (Russia); Sladjana Milojevic, Managing Director of the Fashion Apparel Cluster Serbia (Serbia); Igor Prokudin, Secretary of the Expert Council for the Development of Creative Economy, the State Duma (Russia); and Irina Soprano, designer and founder of the Solangel brand (Russia). The discussion was moderated by Sergei Krasnov, TV host at RBC TV.


#Regional Session. Asia
Grand Hall
Photos: https://disk.360.yandex.ru/d/BtG0yhKccqOY4w
 
The Asian fashion industry combines traditional crafts and cultural heritage with cutting-edge technologies and rapidly developing markets. Designers from India, Indonesia, and Malaysia create new brands focused on preserving local identity. Session participants discussed how Asian fashion blends traditions and innovations, how fashion influences Asian countries' global positioning, and which areas of international cooperation should be developed.

Jay Ishak, CEO and Co-founder of the MyFashionChamber (International Fashion Chamber Malaysia) (Malaysia):

"In Asia, traditional crafts are highly valued. Our brands and designers increasingly incorporate them into their collections, rethinking and creating new perspectives through fashion and apparel products. This makes our industry interesting and commercially successful. We also implement modern technologies, digital systems, blockchain, and AI in model construction. I see five areas for international collaboration in Asian fashion. First – exchanges and collaboration on capsule collections, sharing crafts and techniques. Second – technological partnerships. Knowledge and experience can be exchanged regarding the integration of modern technologies, blockchain, and digital fashion. Third — alliances in ecology. We can work together to promote the circular economy, share best 'green' practices, and make eco-friendly production a reality. Fourth – market access and bilateral agreements. It's important to create conditions for designers and brands to enter other countries' markets. For example, we signed a cooperation agreement with Madrid. This allows our designers to participate in fashion events worldwide. Fifth – education. We are interested in cross-border educational initiatives, training programs, and internships across Asia. This helps develop talented professionals' skills and increases competitiveness."

Nandini Bhalla, Editor-in-Chief of The Word. Magazine (India):
"India is a very young market, with 65% of consumers under 35 years old. Our fashion industry is growing rapidly. About 500 million people use social media, so we have good access to customers. We take pride in our cultural heritage and traditional crafts, integrating them into modern fashion and building collaborations with major brands. Not always does this yield the desired results. But we have experience, such as Prada starting to distribute products of our artisans under their label. We also have brands presenting their products on famous global runways. India now acts as a bridge between the East and West. We create beauty, preserve our traditions, but we are not closed off – we are reaching out to the world.

Sustainability has become a core principle in India. Our parents, grandparents, and great-grandparents never throw anything away – they mend torn clothes and pass them to younger generations. I believe the same happens in Russia. I am confident we need to return to our roots. For centuries, we did not use chemicals and only natural dyes for clothing. Our past holds many forgotten secrets. Now, the Indian government is concerned with ensuring that economic growth is environmentally sustainable. Of course, this is not a matter of a day or a year. It requires strict government policies, a ban on pesticides, and water resource conservation. We should start by encouraging everyone to think about where their clothing raw materials come from, whether their production harms the environment. We must learn from our grandmothers and grandfathers, who cared for old clothes and mended them instead of throwing them away."

Liliek Setiawan, CEO of Sekar Lima (Indonesia):

"Our organization has over 4,000 members representing the textile industry. When it comes to collaborations and presenting yourself at global fashion forums, you need to think about materials that are environmentally sustainable. Indonesia has all the necessary natural fibers – from banana leaves, bamboo, coconut fibers, to rami. But there is one problem – the high cost of this raw material because demand for these fibers is low. To establish serial production of eco-friendly fibers, we need large-scale demand. Everything depends on the law of supply and demand. Therefore, I propose that we all wear clothing made only from natural fibers."

The session participants included Jay Ishak, CEO and Co-founder of the MyFashionChamber (International Fashion Chamber Malaysia) (Malaysia); Nandini Bhalla, Editor-in-Chief of The Word. Magazine (India); Ali Charisma, Advisory Board Member and Event Director of the Indonesian Fashion Chamber (Indonesia); Henri Christophe, Hairdresser and Makeup Artist at Christophe.c Salon (Indonesia); Liliek Setiawan, CEO of Sekar Lima (Indonesia); Rizal Rakhman, Sustainability & Government Relations Executive, PT Pan Brothers Tbk (Indonesia); Pawan Sachdeva, Director at Vogue International Pvt. Ltd. (India). The discussion was moderated by Smita Roy, Senior Associate Editor of The Telegraph (India).


Her Rules. Women Shaping the Fashion Industry
Grand Hall
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In the modern world, women's role in art and creativity extends far beyond muses or models. Women are becoming creators, architects, and catalysts for industry change. The speakers exemplified this shift – they create brands, set trends, and develop fashion as business. During the session, they shared their development stories, discussed female leadership success strategies, and examined current fashion market changes.

Liubov Malyarevskaya, CEO of Russian Media Group:

"How does media influence the premium audience? Directly. We are one of the top-3 media holdings, covering almost the entire country. Our media holding includes five radio stations, a TV channel, and numerous offline events for different target audiences. Radio stations allow us to cover all segments — by income, age, values. The 'Monte Carlo' radio targets the premium segment. The brand is built on its philosophy and values. It's listened to by people with refined taste, good education, and income. Premium clients seek unique experiences – something they want to feel and are willing to spend time on. We started building the 'Monte Carlo' ecosystem and try to reach our audience everywhere: hosting offline events with engaging content, business sessions, and creating an environment for our audience. Recently, we launched a premium sportswear brand inspired by Hollywood styles of the 1920s-1960s – so we influence clients through all their senses. Much is already known about women's role. Of course, it's soft power. If there's a task, a woman will implement it. We simply go out and do it."

Natalia Vesnina, CEO of Mediaholding Independent Media:

"The role of glossy magazines in the fashion industry remains essential. Everything expensive requires good storytelling. It creates product value and builds desire to buy a particular item. That's what we help fashion brands achieve.

We constantly introduce new formats and approaches both in editorial content and commercial integrations. Glossy magazines create consumer desire, which translates into final purchase.

But our internal work process has structurally changed. We use AI and the latest technological capabilities that give us insights into user needs. This is necessary to ensure that our content leads to purchases. We actively work on audience requests. The numbers show we are moving in the right direction: 70 million is our total digital audience. The average reading time is nearly 4 minutes. Fashion clients represent almost 20% of our business. This is a cornerstone. After the withdrawal of many foreign brands in 2022, this percentage remained unchanged. It proves that fashion is alive." 


Svetlana Orlova, Bosco Casa Commercial director, Bosco di Ciliegi Group:

"This year, a large BoscoCasa store will open at GUM, in the place of the former Burberry store. That's what I am currently working on. We live in a time when a wardrobe has become as important as the dresses hanging inside it. The COVID period contributed to this, as people spent more time at home and shifted focus to the home. The current global mood also encourages us to think of home as a place where we feel comfortable and cozy. There's a trend that people want to invest in their homes.

I like the definition that a brand is a promise. It implies that a brand carries guaranteed qualities and traits that people with means prefer and are willing to pay for. We see that people want to have a personal touch. Our home is also a personal cultural code, and perhaps even more meaningful because of that."

Svetlana Kuznetsova, four-time Grand Slam champion, entrepreneur, Svet:

"Sports were my parents' choice. My father was a coach, and he decided that his daughter would play tennis. Now that this chapter of my life has concluded, I’m eager to explore new passions. I’ve always been fascinated by fashion; I began buying designer clothes as soon as I had my own money and eagerly watched fashion shows. Naturally, I want to pursue a career in this field.

A few years ago, I launched a sportswear line, attended various workshops, and honed my skills. Later, I had the opportunity to meet Mikhail Kusnirovich, Chairman of the Supervisory Board of Bosco di Ciliegi Group. He asked me, ‘Svetlana, where’s tennis in your designs? You should incorporate tennis elements!’ I brought my first collection, and now we’re preparing the third capsule with Bosco. 

For me, it’s not just about having my name associated with the Bosco brand – although that is undoubtedly an honor. What matters most is infusing my personal vision into the designs. I’m grateful for the trust placed in me and for the opportunity to bring my ideas to life within such a respected company."

The session participants included Irina Teksler, Founder of the Foundation for Social, Cultural, and Educational Initiatives 2020; Liubov Malyarevskaya, CEO of Russian Media Group; Natalia Vesnina, CEO of Mediaholding Independent Media; Svetlana Orlova, Bosco Casa Commercial director, Bosco di Ciliegi Group; Svetlana Kuznetsova, four-time Grand Slam champion, entrepreneur, Svet; Polina Repik, CEO of Polina Repik brand; Olga Andreeva, Strategic Marketing Director at Brand Analytics; Polina Rizhova, Blogger. The moderator was Darya Kostina, Advisor to the Editor-in-Chief of Kommersant.


Cultural Code and Appropriation. Discovering the Fine Line
Grand Hall
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Cultural appropriation has emerged as one of the fashion industry's most debated topics in recent years. Should brands indicate their sources of inspiration – and how? Where is the line between inspiration and appropriation? Panel participants addressed these questions and agreed that citing inspiration sources should become the "golden rule" of creative borrowing, helping avoid misappropriation and disrespect toward other cultures.

Ajai Vir Singh, Managing Director of Colombo Fashion Week (Sri Lanka):

"For years, European brands have used local crafts without revealing where they borrowed these motifs. Cultural appropriation in any form creates inequality. It's crucial that we discuss this issue within the BRICS+ Fashion Summit."

Marina Banović, Vice President of Montenegro Fashion Week (Montenegro):

"I wear a special dress for this discussion – a creative deconstruction of the Montenegrin national costume. Since 2005, I've been researching this national dress form – the jubleta – working with the local community, including Albanians, to learn about their traditional clothing. We developed a commercial line featuring jubleta-inspired patterns, sewn in a dedicated atelier. The Albanian community benefits from this collaboration. The line between appropriation and inspiration is razor-thin. When you don't disclose a design's origins, you cross into appropriation territory. We strive to protect the source – respecting origins is essential because without that respect, commerce steals its soul."

Tery Carola, CEO and Founder of Seychelles Fashion Week (Seychelles):

"When we borrow an idea without respecting its source, we strip the item from its natural context, which harms the culture it was borrowed from. It's essential not only to cite the source but to understand the item's cultural context. Seychelles is a tourist destination where we deeply value our environment. Many people from different countries have used Seychelles nuts to produce medicines and cosmetics without indicating their origin. Recently, legislation was enacted requiring acknowledgment that these are Seychelles nuts. Now our natural wealth works for us — attracting tourists to our islands."

The discussion featured: Ajai Vir Singh, Managing Director of Colombo Fashion Week (Sri Lanka); Marina Banović, Vice President of Montenegro Fashion Week (Montenegro); Tery Carola, CEO and Founder, Seychelles Fashion Week (Seychelles); Tatyana Rybkina, Director of the All-Russian Decorative Arts Museum (Russia); Aristide Loua, Creative Director of Kente Gentlemen (Côte d'Ivoire); Shirene Rifai, CEO of Jordan Fashion Week (Jordan); Luciana Duarte, Researcher at Amazonia Design (Brazil). The moderator was Nichole M. Bess, Founder of Noir Fashion Week (USA).


Trend Radar. Looking into the Future
Public talk with trend analysts
Grand Hall
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Fashion is much more than Pantone's color, it is a complex system responding to global social and cultural changes. Historically, fashion has followed the "trickle-down" model described by sociologist Georg Simmel: new styles originated in the upper strata of society, and then gradually penetrated the masses. Clothing served as a social marker, allowing ordinary people to join the elite through imitation. However, as soon as the trend became publicly available, the aristocracy abandoned it, launching a new cycle. Today, the way fashion is shaped is influenced by a huge number of factors: the exits of street stylists, celebrities and ordinary people, music, movies, TV series and the situation in the world as a whole. In the online age, it is becoming increasingly difficult to trace where fashion originates and who has the ability to anticipate future fashion trends. How do trends emerge, who sets them, and what constitutes a global trend today? This public talk, featuring designers and bloggers, drew a large audience: once again, the Grand Hall of Zaryadye was fully packed.

Galina Gagarinskaya, Founder and CEO of VK New School Media, shared insights about Generation Z's trendsetting power:
"Gen Z loves Asian culture – it's become a three-year trend attracting not only Zs but other generations too. Trends reflect what's popular in society. Gen Z – those born in the 2000s – has fundamentally changed our world. They've embraced healthy eating, reduced alcohol consumption, and revived 90s fashion from an era they never experienced. We need to listen and understand their desires. Older generations should communicate carefully, avoiding mentor roles that impose rules.

Inna Kombarova, Founder of Telegram channel "Mamkina Modnitsa," known for trend analysis and fashion industry commentary, discussed the "new sincerity" trend:

"The main trend now is being yourself, noticing others, and reconnecting with parents. Today, 30-year-olds visit their mothers and grandmothers to film. Some gain popularity simply by documenting daily life. 12 Storeez created a brilliant case organizing Natalia Vodianova's photoshoot with an autistic boy from Tver. It's deeply human storytelling, which explains its wide resonance."

François Schweitzer, General Merchandising Manager of Etoile Group, emphasized street-level trend origins:

"Youth possesses unique energy. Feel the street vibe — observe how they blend elegance with sportswear and fast fashion elements. We represent major brands, but society feels fatigued by high fashion; people want individuality, and inspiration comes from the streets. Ultimately, our goal is fitting each individual's style – becoming their primary shopping destination. Otherwise, you fail."

All participants reached a consensus best articulated by Soodol Huh, Global Content Editor at High Cut magazine (South Korea):

"When discussing fashion's future, I believe trends are no longer dictated from above. We're entering an era where trends rise from below. Future trendsetters will be ordinary people – those attending parties or returning from shopping trips."

Speakers: Galina Gagarinskaya, Founder and CEO of VK New School Media (Russia); Victoria Romanenko, Stylist, Romanenko Everyday (Russia); Ashlee Muhammad, CEO and founder, BeEyeConic (USA); François Schweitzer, General Merchandising Manager of Etoile Group (UAE); Inna Kombarova, Founder, Telegram channel "Mamkina Modnitsa" (Russia);  Soodol Huh, Global Content Editor at High Cut magazine (South Korea); Tatti Vasilieva, Blogger (Russia); Nikhil Mehra, CDO and co-founder, Finesse International Design Pvt Ltd (India), Shantanu Mehra, CEO and Co-founder Finesse International Design Pvt Ltd (India). Moderator: Rosemary Thurman, Founder of How Fashion Works.

Anti-Trends in Education. What to Unlearn in Fashion
Chamber Hall
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Modern fashion education is undergoing a digital transformation: according to McKinsey & Company, 75% of fashion companies will require employees to work with 3D design and artificial intelligence by 2025. Key trends include the transition to hybrid programs where traditional design is combined with courses on AI trendsetting (algorithms are already 30% more accurate than humans at predicting color trends, according to WGSN), digital fabric modeling in CLO3D and the creation of NFT collections. Universities like the London College of Fashion and Parsons are introducing VR labs for virtual merchandising, and Coursera is recording a 200% increase in requests for courses in sustainable fashion, responding to a demand from the industry, where 67% of brands plan to switch to eco-materials by 2027 (Global Fashion Agenda).

At the same time, highly specialized programs are becoming obsolete: employers are now looking for graduates with a cross-disciplinary background who can simultaneously develop a physical collection, its digital counterpart for the metaverse, and analyze big data from marketplaces.
There is a special demand for micro-degrees in "fashionable" neuroeconomics — neural networks already generate 15% of the designs of mass-market brands (BoF), which requires designers to manage AI assistants. Paradoxically, automation does not reduce, but transforms professions.: IBM predicts that by 2030, 40% of new roles in fashion will be related to managing human-machine creative processes. Experts from Russia, Italy, India, South Africa, and other countries examined evolving industry requirements for graduates of educational institutions.

Stanislav Zimin, Trend analyst and macrotrend specialist at TrendSight, believes the future lies in dialogue between traditions and modern educational systems:

"Ivanovo State Polytechnic University has repeatedly been recognized as Russia's best design institute. The university's graduates create stunning collections based on Ivanovo chintz traditions. These graduates are quickly recruited, but unfortunately, not by Russian manufacturers. One graduate has already been hired by a Chinese factory. We need to establish cooperation between producers and educational institutions."

Antonio Alizzi, Founder and strategic director of Commerson Ltd (Italy), highlighted the conflict of interest between production, schools, and students:

"Here's a fact: 80% of people working in fashion engage in traditional crafts. In schools, we see a general trend toward increasingly specialized courses. Meanwhile, students are seeking technological skills."

Antonio Maurizio Grioli, Dean of Fashion at Pearl Academy (India), shared how India's education system has evolved during his tenure:

"I've been in India for the past 10 years and education has seen an important shift. When I first arrived in India, it used to follow a British system, but later the Indian Government decided to strengthen the value of national education. I was part of this new education policy. We created blocks, with 80 percent dedicated to knowledge about the specific program that the student will study, 10 percent focused on life skills, and the remaining 10 percent on technology. Craftsmanship is crucial for India, and we must support it. That's our philosophy."

Anna Rykova, curator of the Fashion Intensive Course for the BRICS+ Fashion Summit, responded to the moderator's question about which subjects should be eliminated from curricula, stating that no subjects are unnecessary in today's education:
 
"I actually considered abandoning drawing, painting, and composition – subjects we studied at the Textile Institute – but globally, understanding the industry holistically is now essential. It's straightforward: you have a product, and multiple people are involved in its creation. It's insufficient to conceive a product; it must be manufactured and sold. To sell it, it needs marketing. Our students currently don't understand interdependencies within this industry. We need to help them grasp all the links in the chain."
 
 
Session speakers included: Antonio Alizzi, Founder and strategic director, Commerson Ltd (Italy); Stanislav Zimin, Trend analyst and macro trend specialist, Trendsite (Russia); Gregg Maragelis, Director, Cape Town College of Fashion Design (South Africa); Antonio Maurizio Grioli, Dean of Fashion, Pearl Academy (India); Victoria Romashova, Head of Departments, British Higher School of Art and Design (Russia); Olga Mikhailovskaya, Founder, Front (Russia); Anna Rykova, curator of the Fashion Intensive Course for BRICS+ Fashion Summit (Russia). Moderator: Anna Chernykh, General Manager, Freshblood.

Fashion Digitalization. How Technology Is Shaping the Future
Chamber Hall
Photos: https://disk.360.yandex.ru/d/tbnwl_tMT51Exw

The digital transformation of the fashion industry is developing rapidly: about a third of the premium segment's revenue will soon come from virtual products and digital collections. Artificial intelligence is already actively used to predict trends and optimize the assortment, reducing the development cycles of new collections by several times. More than half of buyers say that augmented reality technologies significantly influence their purchase decision. At the same time, there is a growing demand for 3D fashion design and digital tools for creating collections, while blockchain technologies help combat counterfeiting and ensure transparency of supply. However, the industry is facing a personnel challenge – an acute shortage of specialists capable of combining creative skills with modern digital tools is forcing a rethink of approaches to fashion education. В рамках сессии эксперты обсудили плюсы и минусы цифровой трансформации. During the session, experts examined the advantages and disadvantages of digital transformation. The main conclusion: the industry's future lies in harmoniously merging traditional design with technologies such as virtual reality, artificial intelligence, and Web3.

Aleksandra Saukova, Head of the Fashion Design Workshop at Universal University, brings over 30 years of fashion industry experience – including 10 years at Slava Zaitsev's Moscow House of Fashion, where she progressed from seamstress to lead technologist, and more than 15 years teaching clothing technology and construction at the British Higher School of Art and Design (now Universal University). She believes the most challenging future issue will be addressing the shortage of skilled craftspeople:
 
"Everyone wants to be a designer, but no one considers who will execute that design. Without a team of patternmakers, technologists, and tailors, designers cannot succeed. Students at the British School approach this differently – they begin with craft techniques because new technologies only produce results when you possess fundamental skills. In final courses, they learn to communicate externally and create collections online."

Elena Ermakovishna, Head of the Event Department and lecturer at HSE Art and Design School, highlighted the environmental costs of technological advancement:

"I view these technologies pessimistically because they consume enormous energy. I believe we should develop manual practices – they're inherently unique. Algorithms don't make mistakes, but interesting design solutions often emerge from errors. Let's not abandon our craftsmanship."

Anna Dreinberg, CEO of Tomorrow's Render Team, operates across multiple realities, integrating physical and digital fashion industries. She views clothing digitization as forming new business models:

"Our team specializes in immersive business projects using virtual and augmented reality, next-generation social networks, and metaverses – 3D websites, virtual showrooms, exhibitions, gamification, virtual fittings, avatars, 3D graphics, branding, and other emotional and technological solutions. We're developing Fashionverse 5.0 – a cyber-physical SaaS+On-Premise system for fashion brands, manufacturers, designers, and educational institutions using VR/AR technologies. The project made the BRICS Solutions Awards 2024 shortlist and the Strong Ideas for the New Time (SINV-2025) expert top 100 selection."

Mikhail Shpilkin, co-founder of Digital Textile and Legprom Review magazines, considers digital printing the logical next step in clothing production:

"I'm confident the future belongs to personalized, one-of-a-kind products. Digital printing enables this: fabric can be printed in exact quantities needed. Additionally, it's more environmentally friendly than traditional technologies, since fabric dyeing is the largest source of industrial wastewater.

Speakers: Elena Ermakovishna, Head of event department and lecturer, HSE Art & Design School; Aleksandra Saukova, Head of Fashion Design Workshop, Universal University; Anna Dreinberg, CEO, Tomorrow's Render Team; Mikhail Shpilkin, Co-founder of Digital Textile and Legprom Review magazines. Moderator: Aleksei Kuchma, CEO of El5mnt. 

Professions of the Future in the Fashion Industry
Chamber Hall
Photos: https://disk.360.yandex.ru/d/7pEL00D-V1lbUQ

The fashion industry is on the verge of a radical transformation of the HR system. Under the influence of digitalization, sustainable development and new business models, traditional professions are either disappearing or radically changing their content. Experts from India, Italy, Russia, and Sudan examined key changes awaiting the industry in the near future.

Anna Chernykh, General manager of Freshblood, emphasized that designers can no longer be narrow specialists:

"We all understand that competition is no longer based solely on product quality. When developing a hoodie, we don't consider high-quality stitching our competitive advantage. Competition now centers on meaning, ideology, and the ability to create community belonging. Today, designers work with meaning. What makes them unique are additional skills—perhaps cognitive psychology, which surprisingly relates to design work, or artificial intelligence expertise. These are supplementary competencies, but without them, it's unfortunately difficult to feel confident in the evolving fashion industry."

Antonio Alizzi, Founder and strategic director of Commerson Ltd (Italy), a company specializing in strategy, advocacy, and communications, believes digital technologies will continue developing, but algorithms won't replace humans:

"What's happening in fashion can be compared to related fields like architecture. Architects must possess multiple competencies: building in Japan requires knowledge not only of construction technologies but also seismic conditions. For me, artificial intelligence is like an architect's assistant. You can communicate with it, debate, and provide new information. Artificial intelligence is a development driver; sustainability is another." 

Valerii Belgorodskii, Rector of the Kosygin State University of Russia, recalled starting his fashion career as a cutter in a Soviet atelier, pursuing further studies after encountering Italian technology:

"Today, professionals must master digital technologies, artistic technologies, and create art through them. I believe our task is preparing specialists for the future, which is why our university introduced fashion engineering. We won't abandon academic drawing – designers must master it. But without artificial intelligence skills, they cannot succeed today."

Bernardo Paoli, owner of Studies&Careers (Italy), official representative of creative universities including Istituto Marangoni, Domus Academy, and NABA — Nuova Accademia di Belle Arti, advised aspiring designers learning future professions not to forget past ones:

"Recently, a brand owner told me: 'Bring me a good patternmaker, and I'll exchange all my AI specialists for them.' Some professions remain indispensable to the fashion industry."

Speakers: Anna Chernykh, General manager of Freshblood (Russia); Antonio Alizzi, Founder and strategic director of Commerson Ltd (Italy); Bernardo Paoli, Owner of Studies&Careers (Italy); Aleksei Kuchma, CEO of El5mnt (Russia); Shweta Shiware, Fashion columnist and consultant in Mumbai Mirror and The Times of India (India); Valerii Belgorodskii, Rector of the Kosygin State University of Russia. Moderator: Lina Dembikova, Founder of Selection/Ava.


Textiles 2.0. How Science Is Redefining Future Fashion: Materials and Technologies
Open Hall
Photos: https://disk.360.yandex.ru/d/zlPN60Qp2FLm3Q

Experts from Russia, Indonesia, and other countries examined how advances in biotechnology, raw material processing, digital manufacturing, and functional fabrics are transforming the fashion industry's future.

Discussion moderator Aleksandra Saukova, Head of Fashion Design Workshop at Universal University, observed: "Science is fundamentally changing fashion's approach, creating materials and technologies that make clothing more functional, sustainable, and ethical.

Anna Bikchurova, Fabric and accessories specialist, shared insights on global trends: "Fabrics from mushrooms, lotus, pineapple, and apples have already entered the international industry. Innovative developments now enable creating fabrics from carbon dioxide, opening breakthrough opportunities for reducing carbon footprints. Projects utilizing unconventional raw materials, such as fish leather, are rapidly advancing."

Galina Volkova, Owner of Orthomoda, discussed digital production of adaptive footwear and clothing – products now essential not only for people with special needs but integral to mainstream fashion: 

"Our goal is to combine health, comfort, and style. We produce 'smart shoes' that use 3D scanning and printing to accommodate individual anatomy. We utilize recycled materials, including felt made from plastic bottles, and develop footwear with pressure and temperature sensors."


Kirill Chizhov, Co-founder of Copplife, presented functional fabric innovations: "We create textiles with copper nanoparticles that eliminate odors, kill bacteria, and even promote skin regeneration. This technology appeals not only to athletes but also older adults, aligning with health and longevity trends."
 
Nuna Kusmayadi, Advisory Board Member of the Indonesian Fashion Chamber (Indonesia), addressed innovation integration in education: "Our students work with traditional techniques like batik and weaving while learning digital tools, 3D design, and modern dyeing approaches. The younger generation must maintain cultural connections while embracing future technologies."

Speakers: Kirill Chizhov, Co-founder of Copplife (Russia); Mikhail Shpilkin, Co-founder of Digital Textile and Legprom Review magazines (Russia); Irina Leonova, General director of Bioteks (Russia); Anna Bikchurova, Fabric and accessories specialist (Russia); Galina Volkova, Owner of Orthomoda (Russia); Nuna Kusmayadi, Advisory Board Member of the Indonesian Fashion Chamber (Indonesia). Moderator: Aleksandra Saukova, Head of Fashion Design Workshop at Universal University.

Fashion Week. Investing in Global Success
Open Hall
Photos: https://disk.360.yandex.ru/d/ImOePtDcpcxhDg

Fashion Week is not just a showcase of the creative scene, but also a strategic platform for cultural dialogue, demonstration of change and economic growth. Fashion Week is an investment in global success: international image, creative exports, development of local brands and the industry as a whole. 

Session moderator Namrata Zakaria, founder of Rolla Media (India), opened the discussion: "Today, Fashion Week transcends shows and front-row seats. It represents investment in global success, maintaining national image, promoting creative exports, and creating new opportunities for designers."

Alexandra Serova, owner of the Alexandra Serova brand (Russia), emphasized that Fashion Week participation became crucial for her recognition: "Fashion Week provides designers essential support and backing – enabling brands to be heard and recognized by previously unfamiliar audiences. Organizing independent shows is enormously difficult and costly; participating on professional platforms opens pathways to international formats."

Yanina Hancharova, founder of Belarus Fashion Week, noted that fashion remains a diplomatic tool even during financial and economic crises: "Through fashion, we create borderless global dialogue. Local fashion weeks enable designer recognition while allowing countries to showcase their cultural uniqueness on international stages."

Speakers: Tonia Fouseki, Founder and President of Athens Fashion Week (Greece); Asad Sattar, Founder and Creative Director of Arka Fashion Week (Bangladesh); Yanina Hancharova, Founder of Belarus Fashion Week (Belarus); Sayat Dossybayev, CEO of Kazakhstan Fashion Week (Kazakhstan); Alexandra Serova, Owner of the Alexandra Serova brand (Russia); Sergio Puig, Director of Mediterranea Fashion Week Valencia (Spain); Nenad Radujevic, General manager of Belgrade Fashion Week, Fashion Studio Click (Serbia); Carol Marquez, CEO of Guatemala Fashion Week (Guatemala); Pietro Polit, Director of Quito Fashion Week (Ecuador). Moderator: Namrata Zakaria, Founder of Rolla Media (India).

Project Session Of The x Beinopen Alliance On Working With Glocal Ecosystems
Regional session with Russian regional associations and designers
Open Hall
Photos: https://disk.360.yandex.ru/d/8tohuHT-6c9TZw

During the BRICS+ Fashion Summit, Alliance x Beinopen conducted a project session focused on developing local ecosystems and exploring tools to strengthen regional fashion communities. Participants examined how local brands can build sustainable business models, integrate into national and international markets, and develop competencies necessary for advancement.

Session moderator Aleksei Bazhenov, Founder of the Beinopen Institute, outlined the discussion key focus:

"Brands can no longer remain merely local players. Today's true demand centers on uniqueness and systematization. Those who combine local identity with streamlined business processes become global players. Our task is equipping these teams with necessary tools and competencies."

Olga Zimina, Business coach, presented an educational product for systematizing retail competencies:
"Today, even large federal companies face shortages in training methodologies and standardization. Our program helps organize offline store operations, train staff, strengthen loyalty, and increase sales. We're essentially creating a standards library that prevents businesses from losing money through chaos."

Milana Bazarova, Founder of Auxi, shared insights on team engagement:
"Even the most talented projects often encounter distrust or fear of systematization. Our goal isn't pushing teams away but involving them in the process – showing them value and results. Only this approach enables regional brands to step toward global levels."

Project session speakers with regional associations and designers: Mariia Savvina, Designer of Ogo Citizen; Gadzhi Guseinov, Founder of Measure; Zainab Saidulaeva, Creative Director of Measure; Milana Bazarova, Founder of Auxi; Olga Zimina, Business coach; Nadezhda Sachek, Business consultant at Beinopen; Elena Ermakovishna, Head of the Event Department and Lecturer at HSE Art and Design School; Vladimir Trinos, Consultant at Trinos. Moderator:Aleksei Bazhenov, Founder of the Beinopen Institute.