Пожалуйста, оставьте Ваш номер телефона и мы свяжемся с Вами в ближайшее время!
Или Вы можете связаться с нами самостоятельно
+7(968)-0-875-875
Нажимая на кнопку "Отправить", вы даете согласие на обработку персональных данных Культурному фонду развития моды и дизайна «Фонд моды» и Департаменту культуры города Москвы и соглашаетесь c политикой конфиденциальности.
Пожалуйста, оставьте Ваш номер телефона
Мы свяжемся с Вами в ближайшее время!
Или Вы можете связаться с нами самостоятельно:
Who Decides What's Fashionable Now? BRICS+ Fashion Summit Examines the Crisis of Traditional Fashion Authority
The traditional fashion hierarchy, in which trends were shaped by glossy magazine editors, designers, and museum curators, is changing under the influence of social media, user-generated content, and e-commerce.
29.09.2026
Photos: https://disk.360.yandex.ru/d/kT7MPFwq7u5_oA
At the session “Crisis of Authority. Who Decides What’s Fashionable These Days?”, held on September 29 as part of the BRICS+ Fashion Summit, participants discussed who shapes trends today, how algorithms influence perceptions of fashion, and whether traditional institutions such as fashion weeks and glossy magazines still wield the influence they once did.
The discussion brought together David Fernando Martinez Lugo, founder of Cinettica fashion and art film festival; Jenke Ahmed Tailly, stylist; Olga Mikhailovskaya, founder and author of the Front Fashion Telegram channel; Nana Addo Tamakloe, CEO of Accra Fashion Week; Ksenia Kudryashova, founder and designer of the Bitte_Ruhe brand; Anastasia Solomeina, stylist, and Carolina Giovanelli, Deputy Editor of GQ Brazil.
Speaking about new voices of authority, Jenke Ahmed Tailly, a celebrity stylist who spent three years as Beyoncé's creative director and has also worked with Yeezy, Naomi Campbell, Kim Kardashian, and Natalia Vodianova, highlighted the demand for authenticity among Gen Z in fast-growing economies. “In Africa, people are no longer interested in famous global brands. They're interested in their own local labels, which reflect their emotions and identity,” he said.
Jenke Ahmed Tailly sees international collaboration as a powerful tool for overcoming crises, including the crisis of authority in the industry. “BRICS+ is creating a unique global space where African countries, each with a different history, can engage with other rich cultures, including Russia, on equal terms and with mutual respect. Fashion is a powerful force that can bring us together,” he said.
Carolina Giovanelli, deputy editor of GQ Brazil, noted that social media and TikTok have significantly accelerated the spread of fashion trends. One consequence of this constant flow of information, she said, is the proliferation of microtrends and growing information overload. Against the backdrop of an endless stream of recommendations, people are becoming tired of having to keep up with new trends. Clothing choices are increasingly tied to the pursuit of social approval and the fear of negative comments.
In Giovanelli’s view, this erodes personal and national identity, as people rush to buy the same luxury goods. However, she emphasized, “Fashion should point the way, and I hope magazines will help preserve that identity.”
Ksenia Kudryashova, creator and designer of Bitte_Ruhe, also agrees that audiences are becoming saturated with endless content and that traditional influencers, including glossy magazines, are losing their power. Her own brand took off thanks to a product that was picked up by influencer marketing. But algorithms change so quickly that an approach that worked five years ago may no longer be effective today.
She sees another problem in the way the age of acceleration and algorithms is leading to product simplification. And although the era of minimalism is coming to an end, reviving traditional craftsmanship is extremely difficult: finding a skilled seamstress or embroiderer is a major challenge today, as everyone is training to become a “designer” rather than a “craftsperson.” “Consumers have become accustomed to buying something for ‘10 minutes’ of instant gratification. Buying an expensive handmade piece and cherishing it for years is a mindset that the era of mass-market fashion and fast information has conditioned us to abandon, even though the value of unique handmade work is only growing,” Ksenia added.
Olga Mikhailovskaya, founder and author of the Front Fashion Telegram channel, called professional fashion critics "the forest cleaners.” According to her, critics should draw on their knowledge of fashion history and help distinguish genuine innovation from the repetition of ideas that have already been explored. She sees the root of the current contradiction in the fact that “glossy magazines are inherently descriptive and aesthetic – there's no harsh criticism; they show what they like and what looks beautiful. Trends, meanwhile, are a commercial sales tool, and glossy magazines used to be excellent at organizing them.”
Nana Addo Tamakloe, CEO of Accra Fashion Week, addressed the barriers local brands face when trying to gain visibility in the digital space: “The algorithms were against us: our posts weren't visible, African fashion was simply disappearing from social media, and there weren't even TikTok shops, despite the fact that we're one of the fastest-growing markets, worth $130 billion.”
Stylist Anastasia Solomeina is also convinced that it is possible to break free from the influence of algorithms. “I don't even have Pinterest, and I don't follow algorithms. A stylist's work requires the approach of a costume designer. Instead of scrolling through social media, we should turn to archival publications, history books, and cinema,” she said.
David Fernando Martinez Lugo, founder of Cinettica fashion and art film festival, noted that algorithms and social media rules change over time. He therefore believes it is important for users to maintain their independence when engaging with digital content: “An intelligent, well-informed person has no reason to care about algorithms. Social media can be used to cultivate young people's taste, but the most important thing is to remain sincere, independent, and true to yourself.”
During the discussion, participants agreed that digital platforms have significantly changed the way fashion trends take shape, but professional expertise, human choice, and local identity remain important to the industry.
The BRICS+ Fashion Summit is taking place alongside Moscow Fashion Week (September 26–October 1, Central Exhibition Hall 'Manege'). Admission to all events is free, with advance registration required.
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.
At the session “Crisis of Authority. Who Decides What’s Fashionable These Days?”, held on September 29 as part of the BRICS+ Fashion Summit, participants discussed who shapes trends today, how algorithms influence perceptions of fashion, and whether traditional institutions such as fashion weeks and glossy magazines still wield the influence they once did.
The discussion brought together David Fernando Martinez Lugo, founder of Cinettica fashion and art film festival; Jenke Ahmed Tailly, stylist; Olga Mikhailovskaya, founder and author of the Front Fashion Telegram channel; Nana Addo Tamakloe, CEO of Accra Fashion Week; Ksenia Kudryashova, founder and designer of the Bitte_Ruhe brand; Anastasia Solomeina, stylist, and Carolina Giovanelli, Deputy Editor of GQ Brazil.
Speaking about new voices of authority, Jenke Ahmed Tailly, a celebrity stylist who spent three years as Beyoncé's creative director and has also worked with Yeezy, Naomi Campbell, Kim Kardashian, and Natalia Vodianova, highlighted the demand for authenticity among Gen Z in fast-growing economies. “In Africa, people are no longer interested in famous global brands. They're interested in their own local labels, which reflect their emotions and identity,” he said.
Jenke Ahmed Tailly sees international collaboration as a powerful tool for overcoming crises, including the crisis of authority in the industry. “BRICS+ is creating a unique global space where African countries, each with a different history, can engage with other rich cultures, including Russia, on equal terms and with mutual respect. Fashion is a powerful force that can bring us together,” he said.
Carolina Giovanelli, deputy editor of GQ Brazil, noted that social media and TikTok have significantly accelerated the spread of fashion trends. One consequence of this constant flow of information, she said, is the proliferation of microtrends and growing information overload. Against the backdrop of an endless stream of recommendations, people are becoming tired of having to keep up with new trends. Clothing choices are increasingly tied to the pursuit of social approval and the fear of negative comments.
In Giovanelli’s view, this erodes personal and national identity, as people rush to buy the same luxury goods. However, she emphasized, “Fashion should point the way, and I hope magazines will help preserve that identity.”
Ksenia Kudryashova, creator and designer of Bitte_Ruhe, also agrees that audiences are becoming saturated with endless content and that traditional influencers, including glossy magazines, are losing their power. Her own brand took off thanks to a product that was picked up by influencer marketing. But algorithms change so quickly that an approach that worked five years ago may no longer be effective today.
She sees another problem in the way the age of acceleration and algorithms is leading to product simplification. And although the era of minimalism is coming to an end, reviving traditional craftsmanship is extremely difficult: finding a skilled seamstress or embroiderer is a major challenge today, as everyone is training to become a “designer” rather than a “craftsperson.” “Consumers have become accustomed to buying something for ‘10 minutes’ of instant gratification. Buying an expensive handmade piece and cherishing it for years is a mindset that the era of mass-market fashion and fast information has conditioned us to abandon, even though the value of unique handmade work is only growing,” Ksenia added.
Olga Mikhailovskaya, founder and author of the Front Fashion Telegram channel, called professional fashion critics "the forest cleaners.” According to her, critics should draw on their knowledge of fashion history and help distinguish genuine innovation from the repetition of ideas that have already been explored. She sees the root of the current contradiction in the fact that “glossy magazines are inherently descriptive and aesthetic – there's no harsh criticism; they show what they like and what looks beautiful. Trends, meanwhile, are a commercial sales tool, and glossy magazines used to be excellent at organizing them.”
Nana Addo Tamakloe, CEO of Accra Fashion Week, addressed the barriers local brands face when trying to gain visibility in the digital space: “The algorithms were against us: our posts weren't visible, African fashion was simply disappearing from social media, and there weren't even TikTok shops, despite the fact that we're one of the fastest-growing markets, worth $130 billion.”
Stylist Anastasia Solomeina is also convinced that it is possible to break free from the influence of algorithms. “I don't even have Pinterest, and I don't follow algorithms. A stylist's work requires the approach of a costume designer. Instead of scrolling through social media, we should turn to archival publications, history books, and cinema,” she said.
David Fernando Martinez Lugo, founder of Cinettica fashion and art film festival, noted that algorithms and social media rules change over time. He therefore believes it is important for users to maintain their independence when engaging with digital content: “An intelligent, well-informed person has no reason to care about algorithms. Social media can be used to cultivate young people's taste, but the most important thing is to remain sincere, independent, and true to yourself.”
During the discussion, participants agreed that digital platforms have significantly changed the way fashion trends take shape, but professional expertise, human choice, and local identity remain important to the industry.
The BRICS+ Fashion Summit is taking place alongside Moscow Fashion Week (September 26–October 1, Central Exhibition Hall 'Manege'). Admission to all events is free, with advance registration required.
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.