The FUTURUM program is geared towards helping younger designers from Russia and Eastern Europe find their place within the fashion industry, and showcases the best and brightest from the newest crop of creators every season – a launchpad for young talent.

This year, we had an exceptional selection of young designers, which attracted a wide array of press and fashion lovers from around the world.


A light and airy seapunk soundtrack accompanied this starting collection, obviously geared for summer and the beach lifestyle.
Immediately we saw bright colorful tops and shorts with psychedelic colors throughout. Tie-dye was a present theme, so popular with NYC fashionistas and hypebeasts. Light macintoshes and baseball caps proved to be an innovative combination. Small bags shaped like surfboards and sporting the same pastel tie-dye patterns were an unusual and fun choice of accessory. This futuristic, vivid and stylish collection would really work on any beach in year 2020, 2050 – or 3050 for that matter!

Yulia Ten

A structural and measured show, in which Asiatic influenced merged seamlessly with Mediterranean colors and themes.
Traditional kimono dresses and martial arts garments organically grew into harness-like structures towards the shoulders and the chest, reminiscent of Japanese archer’s uniforms.
Then the designer smoothly transitioned into a more Portuguese or Greek influences showing us small jackets of terracotta and aquamarine felt with origami-like flower structures, yet maintaining a strong link with Asia, accompanying them with wide, flowing kimono trousers


A wild, yet still feminine collection, with techno Lolitas wearing playful frills and green-haired Batman villains sporting crystal-embellished half masques or sheer balaclava like hoods.


Gauche dolls painted in Victorian makeup and brandishing blank masks were packed into oversized comfy quilted garments and drapings in this collection, or carried large Red-Riding-Hood headwear. Geometric or fish-scale prints added a lot of color to an otherwise rather dark collection, definitely meant for the midnight seductress, or a vampiric minx searching for her new prey.


Another collection reminiscent of the beach and summertime with both male and female models coming out in swimwear and jackets, or robes with prints of the sea and dolphins, accessorized with swimming caps and beach bags. Unique prints, including the brand’s name, were splattered all over beach towels, shirts and swimming caps.
The robes, colored with primary colors reminded one of swimming costumes with straps hanging freely below waist. With Harmony Korine’s “Beach Bum” making beach fashion cool again, we can definitely expect more of these beach-inspired collections in the future.


A nostalgic 90’s overload is how one could sum this collection up – bright patchwork prints over puffer coats, creative use of jean fabric, dreamy prints of old photographs on oversize mens jackets.
Roma-style prints on fabrics, pink carpeting used in high heel boots and shocking pink dresses coated in shimmery see-through fabric.
Avoskas (net bags) and belt-bags, so often associated with the Soviet era of our country,and big, patchwork puffer coats. Prints of pre-communist mansions and stately homes, and as a finale – a jean fabric dress wrapped in long strands of crystal, as if the model was your grandma’s old chandelier which she valued so much.
A beautiful trip to the past – or the future?


A potent combo of strong blues and reds ruled this collection with the designer even arriving on the runway herself to spray a sheer dress blue and red from aerosol cans, McQueen-style.
Brave applique work and powerful color coding, floor length dresses and long coats, intricate beading, little black (or should I say red and blue) dresses and playful slips, latex mini skirts combined with red pumps and tights. If you wanted to make a real impression on the dancefloor this Summer, you couldn’t go wrong with Yana Egrashina’s collection.


A largely monochrome black and white techwear offering, with practical garments ranging from little black dresses to jackets, and onwards to gowns and flowing skirts with added prints.
A rather futuristic yet also a neutral and subdued collection, the designer kept things going with oversized pockets and geometric prints to keep things going.

Voronina Ekaterina

A genderless and beautiful collection, comprised of oversized tulle dresses and headwear, half-corsets and multi-layered skirts of sheer black and white.
Men in tulle skirts and girls in layered bridal gowns, giant ruffled collars of shimmery fabric – this collection really traveled all over the history of men’s and women’s fashion. Some looks took us to 16th century Spain, while others traveled to 18th century England, but all were forward-thinking and full of life.
Oversized bolero hats of bright orange and jackets of deepest cerulean finished off this aggressive and beautiful exploration of gender and sexuality.


A vivid, energetic show in yellow, black and white, complete with vogue dancers and bright latex trench coats and capes.
Pajama pants with prints, high heel boots and zebra print all over, egg-yolk color hoodies. All simply screamed “I’m young and full of lust and vigor, look at me!”
A full voguing and death dropping performance by a number of ballroom artists crowned off the show, with models symbolically cutting through yellow security tape.
Garments included crop tops shirts and dresses that can be worn formally, on the street or even as evening wear but would best suit a drag diva on a bar crawl.


Another bright and vibrant collection – a serving of rave-style menswear, mostly combining acid pinks yellows and greens.
Many looks – especially the stylish flowing men’s jackets – were accompanied by flesh-toned prints of women’s faces and hands.
Raspberry-colored oversize trousers, baby-blue or baby-pink puffer jackets, yellow knit sweaters and long robes, training pants and shorts, accessorized with trainers encrusted with pink plastic and bottles as charming man-bags. A rave mentality revisited, reimagined, repurposed and, might I add, improved.


A drastically different collection that evoked thoughts and memories of Russian villages with their floral prints, babushka kerchiefs and quaint, charming designs.
Flowery prints were all over this fashion offering – from the teeny-tiny tops with sewn-on roses to Summer dresses and trousers, accessorized with leather handbags that resembled a traditional “bidon” bottle. To accentuate the lack of guile or the need for metropolitan clutter, the models strutted out barefoot, feet painted pink and hand painted blue in a gloriously surrealistic village mise en scene.


A gentle and subdued collection of nude, sand and earth tones, immediately calling to mind the films of Lars Von Trier, Michel Haneke or Francois Ozon.
Trench coats included asymmetric cuts and attached half-capes, while dresses and elegant jumpsuits, though they were a shade of grey, were beautifully toned, as if made from wet sand on a beach in Normandy.
Many models showed off dresses with prints of antique figures, while others showed up in little mocha-colored see-through stockings, which gave the collection an intelligently erotic  feel throughout.


Conical bras – the only thing covering a model’s breasts – of shiny black metal. Long, flowing dresses and jackets, covered in animal print – more lizardskin than anything else.


A brooding and dark collection followed, comprised of dark blue, dark grey and deep black coats, robes and jackets, sweaters and cardigans – all modeled by men wearing full face black masks.
A gothic overall feel made perfect by several gold embroidered jackets and bombers
Accessorized with tabi socks, the procession felt like a sombre ensemble of spirits from a Shakespeare play, soft silks of their ephemeral bodies strapped and held together by restrictive corsets and those black masks. A genderless collection, also, as sometimes it was impossible to work out who is under the drapings and silks.


A highly conceptual gathering of garments quite obviously inspired by abstract impressionism was up next, with bright applique patch work, overt stitchwork, corseted dresses and skirts, and a ton of leather layered over silk.
A futuristic yet traditional look at Asian and Arabic fashion, with many models wearing veils, was finished off by a bride in a gorgeous tulle and whalebone structured dress. The applique work often ended up creating surrealist faces on many of the dresses, keeping the collection playful and sweet.

Zarema Magomedova

More Asiatic influences – this time through a rather minimalistic approach. Using dark aquamarine and crimson, the designer handcrafted her own unique takes on traditional Chinese and Uzbek dresses and kimonos, laying strip after strip of bright red fabric upon simple, straight silhouettes, thus creating new and exciting shapes.
Epaulette work and feathered, origami-like dresses made this abstract and well-put-together collection a real treat.


An ephemeral collection, crafted from the lightest tulle, as if woven from light and spidersilk.
The designer didn’t stop at pure white dresses, however, starting with structured garments of light grey and white and swiftly moving on to dresses resembling nests of exotic birds made from birch and ash tree twigs.
All throughout the collection remained esoteric and otherworldly, with iridescent fabrics shaped exactly to simulate the wind blowing them about, or crumpled together as if to imitate the crimson living tissue of a human heart.


A sensitive, sensual, feminine, yet also practical selection of dresses and Spring coats in deep blacks, tinted whites and gorgeous ocean blues.
These free-flowing shapes immediately brought to mind early Céline with it’s trademark freeing of the feminine body, while garments in deep terracotta and rust colored velvet made the entire thing lovely and delightfully parisian.
A collection for a true budding artist, to craft and shape and create your own reality as one sees fit.


A brutal and beautiful menswear collection inspired by post-punk and synthpop, and realized as a part of an interactive installation.
The looks themselves were brutalist in conception as well – coats and shirts with patterns reminiscent of crocodile skin, army pants and drab-grey boy scout shorts and shirts. Deconstructed longsleeve shirts, tan coats, snow leopard-print vests. Einsturzende Neubaten, or, more precisely, Kraftwerk, would be all over this collection.


Finally, we got to see the special guest of the evening. An evening wear collection, exquisite in its vast array of sequins and glitter, most of it see thru and holding on a red and black color palette. All models came out sporting army caps, reminding one of the exciting days of Post-Perestroika. Glitter and glitz were the final course of the day, and these ladies were serving it with all they had – yet the collection never felt fetishized or explicit, rather it was coyly erotic with it’s black coats (covering almost complete nudity), bright-red jackets and high-heel black leather boots.
You can expect to see ALISHER’s new creations across all Moscow’s night clubs this Summer.

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