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Fashion Macroeconomics, Brand–Audience Relationships and the Demographics of Fashion Demand: BRICS+ Fashion Summit 2026 Concludes in Moscow
The BRICS+ Fashion Summit has wrapped up in Moscow – the largest fashion business forum of fast-growing economies.
1.10.2026
The Summit was held on September 28–30 at the Zaryadye Concert Hall as part of Moscow Fashion Week. It brought together experts, representatives of fashion associations, designers, business leaders, buyers, retailers and journalists from more than 60 countries.
Three Factors Transforming Fashion
The key plenary session of the BRICS+ Fashion Summit, held on September 30, the final day of the Summit, focused on “The Macroeconomics of Fashion. Which Megatrends Will Shape the Industry’s Future?” The discussion explored how geoeconomic and demographic changes, advances in technology and AI, changing consumer behaviour and evolving supply chains are reshaping the global fashion industry and creating new opportunities for international cooperation and the growth of brands from BRICS+ countries.
The discussion brought together Maxim Oreshkin, Deputy Chief of Staff of the Presidential Executive Office of the Russian Federation; Andrey Guryev, Head of the Russian Segment of the BRICS Business Council; Kirill Dmitriev, Special Presidential Representative for Investment and Economic Cooperation with Foreign Countries and CEO of the Russian Direct Investment Fund (RDIF); Nikolai Konstantinov, CEO of Trend Island; Tatyana Kim, Head of RWB and Founder of Wildberries; Vladislav Kreinin, Senior Vice President and Director of Sber’s Marketing and Communications Department; Xie Fangming, Sole-Duty Vice President of the China Fashion Association; Özlem Şahin, Founder and CEO of Modest Fashion Weeks by Think Fashion (Turkey); and Aizel Trudel, Trustee of the Fashion Fund.
Maxim Oreshkin, Deputy Chief of Staff of the Presidential Executive Office of the Russian Federation, proposed viewing the transformation of the fashion industry through three interconnected factors – geoeconomic, demographic and technological changes. According to him, the growing role of BRICS+ countries marks a shift from a model in which the main centres of design, production, financing and sales were concentrated in a limited number of countries to a more distributed system of regional ecosystems. At the same time, patterns of consumption are changing: population ageing and new behavioural patterns among younger consumers are prompting the industry to reassess how it views both its products and its audiences.
He linked technological transformation primarily to the development of artificial intelligence, which is gradually extending across the entire value-creation cycle – from analytics, design and procurement to production, marketing and customer engagement. At the same time, he believes AI should enhance human capabilities rather than replace creative vision with standardised solutions. New tools, Oreshkin noted, enable small teams to access capabilities that were previously available mainly to large corporations.
“Today, the importance of BRICS+ countries is growing in technology, trade and the fashion world. The West is no longer playing a central role here. That does not mean Western brands, technologies or capital are disappearing. Rather, design and investment raising are increasingly shaped by regional ecosystems, while international cooperation is creating new opportunities,” Maxim Oreshkin emphasised.
Kirill Dmitriev, Special Presidential Representative for Investment and Economic Cooperation with Foreign Countries and CEO of the Russian Direct Investment Fund (RDIF) noted that the transformation of the fashion industry is creating opportunities for new players to emerge and Russian brands to scale up. He said niche brand owners should consider their growth potential from the outset at the national, BRICS-wide and global levels.
He highlighted the interest of Middle Eastern investors in projects that combine creativity with technological solutions, logistics and flexible management. Among the most promising areas, he identified those at the intersection of fashion and AI: virtual fitting rooms, personalisation, customisation and other technologies that make it possible to adapt products to individual consumers. Speaking about the international expansion of Russian brands, Dmitriev noted the interest in Russian culture and fashion in BRICS countries as well as in certain Western markets.
“The fashion world has never undergone changes on this scale before. And it is not just about international brands beginning to leave the Russian market and domestic brands taking their place. Our brands are becoming global: many companies are entering BRICS markets today and promoting Russia in these countries,” Kirill Dmitriev said.
Andrey Guryev, Head of the Russian Segment of the BRICS Business Council, spoke about the international organization’s work to foster practical ties between companies from BRICS countries. Particular attention, he said, is being paid to logistics, payments and overcoming other barriers that may hinder specific deals. He also noted the Fashion Fund’s proposal to establish a sectoral subgroup on the fashion industry and value chains within the Russian segment of the BRICS Business Council, and voiced his support for the initiative.
According to him, the subgroup will collect practical industry issues and address them through specific transactions and projects: in some cases, finding partners will be enough to solve a problem; in others, regulatory work will be required; while issues common to several countries may be brought to the BRICS level.
For this work, the Russian segment of the BRICS Business Council is launching a digital registry of business initiatives and barriers. Guryev noted that bringing partners from BRICS countries into the registry would make cooperation in the fashion industry more practical by facilitating mutual procurement, joint production and companies’ access to shared markets.
“We are essentially a global platform within the system of business councils that can be relied on to address specific challenges. These include logistical and legal issues, various requirements and difficulties with payments. We are working to digitise existing barriers as much as possible, remove them and, most importantly, make interaction accessible and clear for all parties,” Andrey Guryev said.
Tatyana Kim, Head of RWB and Founder of Wildberries, emphasised the need to move from discussing international cooperation to building practical alliances. As an example, she cited Wildberries’ cooperation with AliExpress and highlighted the potential for collaboration between Russian and Chinese platforms. According to her, sharing resources, technologies and audiences between platforms can create additional opportunities for emerging designers and local brands to grow.
“We need not just to talk, but to act. Alliances between Russian and Chinese platforms will undoubtedly benefit everyone. Our approach makes it possible to communicate openly, exchange experience and audiences, giving local brands an opportunity to reach new levels of scale,” Tatyana Kim said.
Aizel Trudel, Trustee of the Fashion Fund, stressed the need to move from individual contacts to comprehensive engagement with international markets. According to her, Russia already has brands ready for international expansion, but entering foreign markets requires meeting partners’ expectations in terms of quality, delivery speed and collection turnover. She proposed developing showrooms and buying sessions jointly with international partners to build sustained interest among foreign buyers.
“The main task today is to promote our Russian identity and our cultural values. Designers are doing this very creatively, but at the same time very delicately, so that the result does not turn into ordinary souvenir products,” Aizel Trudel said.
Vladislav Kreinin, Senior Vice President and Director of Sber’s Marketing and Communications Department, spoke about the development of AI tools for the fashion industry. According to him, Sber currently serves around 19,000 companies operating in the fashion industry and selling through marketplaces. One of the key changes he identified was the shift towards end-to-end agentic business processes – from market research and pricing to product development, production and logistics. Kreinin also identified virtual product testing as another area of development.
“We are creating a platform for the creative industries that will automate many workflows and help creators focus on what matters most – creating original, emotionally powerful content that speaks to the cultural code. From there, they will be able to prototype their solutions very quickly, test them on virtual audience simulators, launch capsule collections and scale them up by moving into industrial production,” Vladislav Kreinin said.
Xie Fangming, Sole-Duty Vice President of the China Fashion Association, spoke about opportunities for cooperation between Russian and Chinese brands. According to him, the Chinese market is open to Russian products, while interest in high-quality local brands with their own style and character is growing in China.
“Russian art, folk art and theatre are unique and make a strong impression on Chinese consumers. I hope that more and more Russian and Chinese designers and brands will collaborate,” Xie Fangming said.
PHOTOS: https://disk.360.yandex.ru/d/O9DP3QSNEQCPFg
Key Trends and Challenges Facing the Fashion Industry
A total of 26 sessions and plenary meetings were held as part of the Summit’s business program. Throughout all three days, several recurring topics emerged, explored from different perspectives in discussions on technology, consumers, cultural identity, investment and the development of fashion industry infrastructure.
One such topic was artificial intelligence as a driver of industry transformation. It was discussed in a wide range of contexts at the Summit. These included authorship and the boundaries of creative work (“Artificial Intelligence in the Creative Process: Tool, or Co-Author?”), automation and the restructuring of production processes (“Manufacturing Technologies. What Will Change in the Next 5 Years?”), tools for brands to operate effectively on marketplaces (“Supporting Local Brands. Building Infrastructure for Growth”), and new ways of engaging with consumers (“Smart Shopping. How Brands Can Navigate the Revolution in Consumer Behavior”).
The Summit also addressed the key role of artificial intelligence across the entire product value chain. This creates new opportunities for small teams and local brands (“The Macroeconomics of Fashion. Which Megatrends Will Shape the Industry’s Future?”).
Cultural identity was another recurring theme throughout the Summit’s agenda. Participants discussed the growing importance of local identities against the backdrop of global digital platforms (“Crisis of Authority. Who Decides What’s Fashionable These Days?”), the need to align brand positioning with the values of a specific audience (“Value-Based Marketing. What Does Your Customer Believe In?”), and the transformation of historical heritage into contemporary products capable of succeeding in foreign markets (“Cultural Code. From Museum Archives to Global Markets”).
Another key topic was infrastructure to support fashion brands. Participants in the session “Investments in the Creative Industries. Can Fashion Compete with Startups?” discussed how projects should be evaluated based on their creative potential, commercial viability and opportunities for scaling. The discussion “Supporting Local Brands. Building Infrastructure for Growth” showed that emerging brands need tools for launching and growing, while established brands are already focused on scaling and exports.
At the international level, brands need common rules, certification, clear regulations, logistics and mechanisms for finding partners. One of the Summit’s practical outcomes, as noted above, was the decision to establish an industry subgroup on fashion and value chains within the Russian segment of the BRICS Business Council.
Finally, the Summit showed that the relationship between fashion and cultural institutions is gradually becoming two-way. The session “Fashion as a Museum Artifact. What Do Leading Museums Select and Preserve?” focused on how museums are rethinking fashion heritage, while “In Search of Inspiration: Russia’s 19th and 20th Century Cultural Heritage” explored how artists and designers draw on historical sources. In turn, the sessions “Role of Traditional Crafts in the Modern Fashion” and “Cultural Code. From Museum Archives to Global Markets” examined the reverse process – from tradition to contemporary products, their promotion and entry into new markets.
The Summit made it clear that contemporary fashion is a significant part of the economy, particularly for BRICS+ countries. It brings together textile production and equipment manufacturing, logistics and the platform economy, creates jobs, supports related industries and, at the same time, helps preserve traditional materials, crafts and production techniques.
The scale of the sector is also reflected in Russian figures: according to the Agency for Strategic Initiatives, by 2030 the fashion industry’s contribution to Russia’s GDP could reach 0.46%, industry revenue could exceed RUB 1.2 trillion, and exports could reach $4.36 billion. Thus, the development of the fashion industry is simultaneously an economic objective, a source of employment and a means of preserving and reinterpreting cultural heritage in contemporary ways.
The Summit as a Platform for Dialogue
International participants at the Summit praised the quality of its Business Program, the high standard of organization and the opportunity it provided for professionals from different markets to connect.
Sergio Puig, director of Mediterranean Fashion Week Valencia (Spain), said: “In terms of organization, I consider it one of the strongest events in the fashion industry today. Its greatest strength is its ability to bring together so many different cultures.”
Nicole M. Bess, Founder and CEO of Noir Fashion Week (USA), emphasised the Summit’s international significance: “BRICS+ Fashion Summit is a force to be reckoned with. An event like this is truly needed at the global level. And I think Moscow is the perfect place for our meeting.”
Jay Ishak, Founder and CEO of the International Fashion Chamber of Malaysia, agreed, calling the Summit “a unique platform where we can discuss the fashion industry: its challenges, existing problems, future and trends, as well as how we can work together to develop a unified fashion industry across the BRICS space and partner countries.”
Media and Culture at the Summit
More than 650 media representatives worked at the BRICS+ Fashion Summit on September 28–30. Among them was the television studio of RT, Russia’s international television network. The channel’s journalists recorded 23 full-length interviews with Summit participants from different countries around the world. RT comprises nine news and documentary television channels and online platforms, as well as social media platforms in 10 languages. The channel is available in more than 100 countries, with an audience of more than 950 million television viewers and 40 billion views on social media.
Recordings of the most interesting sessions of the BRICS+ Fashion Summit will be available through the VK Lecture Hall community. Users of the platform will be able to watch presentations by participants in the business programme on VK Video at a convenient time and explore current topics and expert perspectives from fashion industry professionals.
An exhibition titled “Khokhloma × Russian Designers” was also open in the foyer of the Zaryadye Concert Hall throughout all three days of the Summit. It was designed to demonstrate how contemporary clothing, accessories, furniture and jewellery can draw inspiration from the centuries-old craft.
The BRICS+ Fashion Summit took place alongside Moscow Fashion Week (September 26–October 1, Central Exhibition Hall 'Manege').
Strategic partner of the BRICS+ Fashion Summit is Sber.
General partner of the BRICS+ Fashion Summit is Wildberries.
Technology partner of the BRICS+ Fashion Summit is GigaChat neural network.
More content from the BRICS+ Fashion Summit is available on the event’s official Wibes account and under the hashtag #BRICSFashionSummit.
The event’s official photography service is the Rodchenko Moscow School of Photography and Multimedia.
Three Factors Transforming Fashion
The key plenary session of the BRICS+ Fashion Summit, held on September 30, the final day of the Summit, focused on “The Macroeconomics of Fashion. Which Megatrends Will Shape the Industry’s Future?” The discussion explored how geoeconomic and demographic changes, advances in technology and AI, changing consumer behaviour and evolving supply chains are reshaping the global fashion industry and creating new opportunities for international cooperation and the growth of brands from BRICS+ countries.
The discussion brought together Maxim Oreshkin, Deputy Chief of Staff of the Presidential Executive Office of the Russian Federation; Andrey Guryev, Head of the Russian Segment of the BRICS Business Council; Kirill Dmitriev, Special Presidential Representative for Investment and Economic Cooperation with Foreign Countries and CEO of the Russian Direct Investment Fund (RDIF); Nikolai Konstantinov, CEO of Trend Island; Tatyana Kim, Head of RWB and Founder of Wildberries; Vladislav Kreinin, Senior Vice President and Director of Sber’s Marketing and Communications Department; Xie Fangming, Sole-Duty Vice President of the China Fashion Association; Özlem Şahin, Founder and CEO of Modest Fashion Weeks by Think Fashion (Turkey); and Aizel Trudel, Trustee of the Fashion Fund.
Maxim Oreshkin, Deputy Chief of Staff of the Presidential Executive Office of the Russian Federation, proposed viewing the transformation of the fashion industry through three interconnected factors – geoeconomic, demographic and technological changes. According to him, the growing role of BRICS+ countries marks a shift from a model in which the main centres of design, production, financing and sales were concentrated in a limited number of countries to a more distributed system of regional ecosystems. At the same time, patterns of consumption are changing: population ageing and new behavioural patterns among younger consumers are prompting the industry to reassess how it views both its products and its audiences.
He linked technological transformation primarily to the development of artificial intelligence, which is gradually extending across the entire value-creation cycle – from analytics, design and procurement to production, marketing and customer engagement. At the same time, he believes AI should enhance human capabilities rather than replace creative vision with standardised solutions. New tools, Oreshkin noted, enable small teams to access capabilities that were previously available mainly to large corporations.
“Today, the importance of BRICS+ countries is growing in technology, trade and the fashion world. The West is no longer playing a central role here. That does not mean Western brands, technologies or capital are disappearing. Rather, design and investment raising are increasingly shaped by regional ecosystems, while international cooperation is creating new opportunities,” Maxim Oreshkin emphasised.
Kirill Dmitriev, Special Presidential Representative for Investment and Economic Cooperation with Foreign Countries and CEO of the Russian Direct Investment Fund (RDIF) noted that the transformation of the fashion industry is creating opportunities for new players to emerge and Russian brands to scale up. He said niche brand owners should consider their growth potential from the outset at the national, BRICS-wide and global levels.
He highlighted the interest of Middle Eastern investors in projects that combine creativity with technological solutions, logistics and flexible management. Among the most promising areas, he identified those at the intersection of fashion and AI: virtual fitting rooms, personalisation, customisation and other technologies that make it possible to adapt products to individual consumers. Speaking about the international expansion of Russian brands, Dmitriev noted the interest in Russian culture and fashion in BRICS countries as well as in certain Western markets.
“The fashion world has never undergone changes on this scale before. And it is not just about international brands beginning to leave the Russian market and domestic brands taking their place. Our brands are becoming global: many companies are entering BRICS markets today and promoting Russia in these countries,” Kirill Dmitriev said.
Andrey Guryev, Head of the Russian Segment of the BRICS Business Council, spoke about the international organization’s work to foster practical ties between companies from BRICS countries. Particular attention, he said, is being paid to logistics, payments and overcoming other barriers that may hinder specific deals. He also noted the Fashion Fund’s proposal to establish a sectoral subgroup on the fashion industry and value chains within the Russian segment of the BRICS Business Council, and voiced his support for the initiative.
According to him, the subgroup will collect practical industry issues and address them through specific transactions and projects: in some cases, finding partners will be enough to solve a problem; in others, regulatory work will be required; while issues common to several countries may be brought to the BRICS level.
For this work, the Russian segment of the BRICS Business Council is launching a digital registry of business initiatives and barriers. Guryev noted that bringing partners from BRICS countries into the registry would make cooperation in the fashion industry more practical by facilitating mutual procurement, joint production and companies’ access to shared markets.
“We are essentially a global platform within the system of business councils that can be relied on to address specific challenges. These include logistical and legal issues, various requirements and difficulties with payments. We are working to digitise existing barriers as much as possible, remove them and, most importantly, make interaction accessible and clear for all parties,” Andrey Guryev said.
Tatyana Kim, Head of RWB and Founder of Wildberries, emphasised the need to move from discussing international cooperation to building practical alliances. As an example, she cited Wildberries’ cooperation with AliExpress and highlighted the potential for collaboration between Russian and Chinese platforms. According to her, sharing resources, technologies and audiences between platforms can create additional opportunities for emerging designers and local brands to grow.
“We need not just to talk, but to act. Alliances between Russian and Chinese platforms will undoubtedly benefit everyone. Our approach makes it possible to communicate openly, exchange experience and audiences, giving local brands an opportunity to reach new levels of scale,” Tatyana Kim said.
Aizel Trudel, Trustee of the Fashion Fund, stressed the need to move from individual contacts to comprehensive engagement with international markets. According to her, Russia already has brands ready for international expansion, but entering foreign markets requires meeting partners’ expectations in terms of quality, delivery speed and collection turnover. She proposed developing showrooms and buying sessions jointly with international partners to build sustained interest among foreign buyers.
“The main task today is to promote our Russian identity and our cultural values. Designers are doing this very creatively, but at the same time very delicately, so that the result does not turn into ordinary souvenir products,” Aizel Trudel said.
Vladislav Kreinin, Senior Vice President and Director of Sber’s Marketing and Communications Department, spoke about the development of AI tools for the fashion industry. According to him, Sber currently serves around 19,000 companies operating in the fashion industry and selling through marketplaces. One of the key changes he identified was the shift towards end-to-end agentic business processes – from market research and pricing to product development, production and logistics. Kreinin also identified virtual product testing as another area of development.
“We are creating a platform for the creative industries that will automate many workflows and help creators focus on what matters most – creating original, emotionally powerful content that speaks to the cultural code. From there, they will be able to prototype their solutions very quickly, test them on virtual audience simulators, launch capsule collections and scale them up by moving into industrial production,” Vladislav Kreinin said.
Xie Fangming, Sole-Duty Vice President of the China Fashion Association, spoke about opportunities for cooperation between Russian and Chinese brands. According to him, the Chinese market is open to Russian products, while interest in high-quality local brands with their own style and character is growing in China.
“Russian art, folk art and theatre are unique and make a strong impression on Chinese consumers. I hope that more and more Russian and Chinese designers and brands will collaborate,” Xie Fangming said.
PHOTOS: https://disk.360.yandex.ru/d/O9DP3QSNEQCPFg
Key Trends and Challenges Facing the Fashion Industry
A total of 26 sessions and plenary meetings were held as part of the Summit’s business program. Throughout all three days, several recurring topics emerged, explored from different perspectives in discussions on technology, consumers, cultural identity, investment and the development of fashion industry infrastructure.
One such topic was artificial intelligence as a driver of industry transformation. It was discussed in a wide range of contexts at the Summit. These included authorship and the boundaries of creative work (“Artificial Intelligence in the Creative Process: Tool, or Co-Author?”), automation and the restructuring of production processes (“Manufacturing Technologies. What Will Change in the Next 5 Years?”), tools for brands to operate effectively on marketplaces (“Supporting Local Brands. Building Infrastructure for Growth”), and new ways of engaging with consumers (“Smart Shopping. How Brands Can Navigate the Revolution in Consumer Behavior”).
The Summit also addressed the key role of artificial intelligence across the entire product value chain. This creates new opportunities for small teams and local brands (“The Macroeconomics of Fashion. Which Megatrends Will Shape the Industry’s Future?”).
Cultural identity was another recurring theme throughout the Summit’s agenda. Participants discussed the growing importance of local identities against the backdrop of global digital platforms (“Crisis of Authority. Who Decides What’s Fashionable These Days?”), the need to align brand positioning with the values of a specific audience (“Value-Based Marketing. What Does Your Customer Believe In?”), and the transformation of historical heritage into contemporary products capable of succeeding in foreign markets (“Cultural Code. From Museum Archives to Global Markets”).
Another key topic was infrastructure to support fashion brands. Participants in the session “Investments in the Creative Industries. Can Fashion Compete with Startups?” discussed how projects should be evaluated based on their creative potential, commercial viability and opportunities for scaling. The discussion “Supporting Local Brands. Building Infrastructure for Growth” showed that emerging brands need tools for launching and growing, while established brands are already focused on scaling and exports.
At the international level, brands need common rules, certification, clear regulations, logistics and mechanisms for finding partners. One of the Summit’s practical outcomes, as noted above, was the decision to establish an industry subgroup on fashion and value chains within the Russian segment of the BRICS Business Council.
Finally, the Summit showed that the relationship between fashion and cultural institutions is gradually becoming two-way. The session “Fashion as a Museum Artifact. What Do Leading Museums Select and Preserve?” focused on how museums are rethinking fashion heritage, while “In Search of Inspiration: Russia’s 19th and 20th Century Cultural Heritage” explored how artists and designers draw on historical sources. In turn, the sessions “Role of Traditional Crafts in the Modern Fashion” and “Cultural Code. From Museum Archives to Global Markets” examined the reverse process – from tradition to contemporary products, their promotion and entry into new markets.
The Summit made it clear that contemporary fashion is a significant part of the economy, particularly for BRICS+ countries. It brings together textile production and equipment manufacturing, logistics and the platform economy, creates jobs, supports related industries and, at the same time, helps preserve traditional materials, crafts and production techniques.
The scale of the sector is also reflected in Russian figures: according to the Agency for Strategic Initiatives, by 2030 the fashion industry’s contribution to Russia’s GDP could reach 0.46%, industry revenue could exceed RUB 1.2 trillion, and exports could reach $4.36 billion. Thus, the development of the fashion industry is simultaneously an economic objective, a source of employment and a means of preserving and reinterpreting cultural heritage in contemporary ways.
The Summit as a Platform for Dialogue
International participants at the Summit praised the quality of its Business Program, the high standard of organization and the opportunity it provided for professionals from different markets to connect.
Sergio Puig, director of Mediterranean Fashion Week Valencia (Spain), said: “In terms of organization, I consider it one of the strongest events in the fashion industry today. Its greatest strength is its ability to bring together so many different cultures.”
Nicole M. Bess, Founder and CEO of Noir Fashion Week (USA), emphasised the Summit’s international significance: “BRICS+ Fashion Summit is a force to be reckoned with. An event like this is truly needed at the global level. And I think Moscow is the perfect place for our meeting.”
Jay Ishak, Founder and CEO of the International Fashion Chamber of Malaysia, agreed, calling the Summit “a unique platform where we can discuss the fashion industry: its challenges, existing problems, future and trends, as well as how we can work together to develop a unified fashion industry across the BRICS space and partner countries.”
Media and Culture at the Summit
More than 650 media representatives worked at the BRICS+ Fashion Summit on September 28–30. Among them was the television studio of RT, Russia’s international television network. The channel’s journalists recorded 23 full-length interviews with Summit participants from different countries around the world. RT comprises nine news and documentary television channels and online platforms, as well as social media platforms in 10 languages. The channel is available in more than 100 countries, with an audience of more than 950 million television viewers and 40 billion views on social media.
Recordings of the most interesting sessions of the BRICS+ Fashion Summit will be available through the VK Lecture Hall community. Users of the platform will be able to watch presentations by participants in the business programme on VK Video at a convenient time and explore current topics and expert perspectives from fashion industry professionals.
An exhibition titled “Khokhloma × Russian Designers” was also open in the foyer of the Zaryadye Concert Hall throughout all three days of the Summit. It was designed to demonstrate how contemporary clothing, accessories, furniture and jewellery can draw inspiration from the centuries-old craft.
The BRICS+ Fashion Summit took place alongside Moscow Fashion Week (September 26–October 1, Central Exhibition Hall 'Manege').
Strategic partner of the BRICS+ Fashion Summit is Sber.
General partner of the BRICS+ Fashion Summit is Wildberries.
Technology partner of the BRICS+ Fashion Summit is GigaChat neural network.
More content from the BRICS+ Fashion Summit is available on the event’s official Wibes account and under the hashtag #BRICSFashionSummit.
The event’s official photography service is the Rodchenko Moscow School of Photography and Multimedia.