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November 2020

Ruslan Isinev „the umba“



Photographer: Ruslan Isinev @ruslan.isinev
Art director, stylist: Ekaterina Budanova @fashionkatya
Make up & hairstyle: Elizaveta Uchaeva @elizaveta_uchaeva
Location manager: Mikhail Kozhin
Producer: Alexey Nazarov @alexeynazarov_photo
Model: Diana Selikhova @_puma_51
Model agency: Quest Models @quest_models
Style assistants: Maria Durkina @marusha.d
Christina Yemelyanova @verecundx
Ekaterina Barchenkova @barchenkova_
Anna Korshunova @nutakorshunova
Alina Aznagulova @alinavpoiskahstilya


NASTYA NEKRASOVA DESIGN @nastyanekrasovadesign
Ruzalina Amirova @amra_rik
OR.Studio @or.brand
Rosbalet @rosbalet
Irony Studio @irony_studio
ZHARA @alinazhara
RED SEPTEMBER @redseptemberofficial
by NOB AGENCY @nobagency
LPN SKY @lpn_sky
Garin @garinhats
Legenda @nikolaylegenda
Yana Egrashina @yanaegrashina
Oldnew vintage @oldnew_moscow

Dress – stylist’s own; Jacket NASTYA NEKRASOVA DESIGN

Dress NASTYA NEKRASOVA DESIGN; Gloves & shoes stylist’s own; Blouse & skirt N. Legenda; Shoes Rosbalet

Dress & jacket N. Legenda; Shoes Rosbalet; Dress NASTYA NEKRASOVA DESIGN

Dress NASTYA NEKRASOVA DESIGN; Gloves LPN SKY; Earrings Irony Studio; Shoes stylist’s own; Dress & jacket N. Legenda; Shoes Rosbalet

Blouse & skirt N. Legenda; Pants & jacket & corset RED SEPTEMBER by NOB AGENCY; Earrings Irony Studio; Shoes stylist’s own

Dress OR.Studio; Coat ZHARA; Shoes stylist’s own; Blouse OR.Studio; Pants NASTYA NEKRASOVA DESIGN; Panama hat Garin; Scarf & stylist’s own

Jacket & shorts RED SEPTEMBER by NOB AGENCY; Shoes Balenciaga; Dress NASTYA NEKRASOVA DESIGN; Gloves LPN SKY; Earrings Irony Studio; Shoes stylist’s own

Interview with artist Tania Rivilis


L i s a  L u k i a n o v a

Interview with artist Tania Rivilis
Hello Tania! Thank you for taking time for that interview. As I read in your biography you started painting at the age of 27. Have you always been interested in Art or was it an impulsive decision? Could you please tell us more how you came up with the idea of expressing yourself through the painting?
I don’t know why it took me so long to start painting. I can’t help myself but think about what it would be like if I started, for example, at the age of 10, how different would it be now. But anyway at this point I’m trying to make up for all that lost time in every possible way. My acquaintance with oil paints happened in Germany, where I had moved at around 26. All my life I had been feeling that I had to express something, that this craving for art was always in me.
And I had been drawn to art for a long time: I studied media design and art history at the university and could stare at a picture in a museum for hours (I was lucky that Moscow and St. Petersburg are packed with great museums). But the urge to paint really rolled over and splashed out when I was left all alone and away from home, from comfort, from being inside the community and not out. After a noisy crowded metropolis, a small German city (I moved to Essen at that time) seemed to be absolutely silent. All the buzz stopped, leaving me with nothing but my consciousness. Perhaps this new state of mind helped me to concentrate on the inner side. My boyfriend (who is now my husband) gifted me oil paints, brushes, and canvas. At first, there were indecisive strokes with a small brush, dozens of books by old masters, and copies of their works. But after a few years, my movements became more confident, and the colors got bolder. And here I am now: covering wood panels with wide brush strokes and painting the shadows with ultramarine or bright orange.
2. How did your moving to Germany from Russia affect your creativity and perception of the world?
Germany is a country of order and accuracy, but also of freedom of being whoever you want to be: I guess such people as David Bowie or Iggy Pop were drawn here for a reason. I suppose this atmosphere helped me get away from all the mess in my head left from my previous life, and finally, be liberated. Although the German autumn still kicks my happy thinking’s ass sometimes, I owe it to those days spent at home with a cup of hot tea, music in the background, and the smell of oil paints.
I live in Aachen now, a beautiful city with small streets of great history, the smell of Prints (traditional Aachen cookies), right on the border of Netherlands and Belgium. This freedom of choice, freedom of movement, a variety of cultures and traditions, languages, cuisine, etc. – this really changed my worldview.
3. How did you find your own unique style of painting or are you still exploring new art languages and techniques? Describe your style in one sentence, please.

Well, I’m still searching for my own expressive language and style, and it seems that this search, this path IS my style in a way. It is still too young to be constant, but already strong enough to write a series of paintings for several galleries. Because of the fact that I came to art so late, I subconsciously try to travel a very long way in an incredibly short time. It feels like I am late for the train and run after it, jumping on the step with one foot – this is how I see my presence on the art scene. As for the technique, I accidentally discovered the OSB panel about a year ago in the Bauhaus. I thought “this is a damn fine surface for a painting”, and ever since have been painting mainly on these panels, having pre-processed the edges and covering them. The oil adheres perfectly to the surface and the texture of the pressed woodиis perfectly visible and gives an unexpected vibe and sense to the picture.
Color is the power – that’s how I would describe my style. Color has some kind of magical power over people. It excites and frightens, lures and rejects. In my works, I want to convey this power – in every stroke, in every line. But if I were to pull my head out of the box with some pretty talking, I could simply say I paint in Contemporary Realism style.
4. You mainly do portraits. So, how do you choose a model for these? Are you painting from photographs or do people pose for you? Please tell us about the process of working with the model or the choice of the model.
I adore people with a non-standard appearance, with unique beauty – the artist can spot such people in the crowd in a couple of seconds. These are people with expressive, explicit facial features or wonderfully deep and sad eyes. There is some kind of connection that is established and strengthened after I paint the portrait. I find a model on the street, in a cafe, on Instagram. Sometimes I can come out as a total creep, staring at a person, imagining writing his or her face, painting a nose with a beautiful hump, and adding a highlight to the edge of the pupil. Hope I don’t make these people go paranoid.
Usually, the process is like this: I invite the model to the studio (already having ideas for the portrait in my head), take a couple of photos (ok, not a couple, often the number is around 100). Then I select those that came out closest to my idea. I make some sketches, plan the composition and color scheme. Although I can honestly say that in the process everything
changes by 80 percent. What I focus on most is the eyes. The eyes can tell a lot more about a person than anything else.
5. Tell us about the spaces within you live and work.
I work in our house in a small studio under the roof. The house is located not far from the forest, so through the window, I see treetops, puffy clouds, and incredible sunsets. Unfortunately, because of my main job, I often get a chance to get to my studio only in the evening. So I created a lighting system: a mix of warm and cold light that helps (albeit with difficulty) to see what I paint. But sometimes I manage to work during the day, on weekends mostly. I had dreamed of natural daylight for a long time and when we moved to Aachen my dream came true. Now I have a new dream – a big studio (hear that, universe?). But I love
the one I have now – it is ideally cozy, smells of oil paints and coffee, a vinyl record or lectures playing, – this is my meditation room, my fortress. On the cedar wood walls, there are paintings in antique frames: my first works that I keep or some paintings from the artist fellas. In the middle, there is a vintage sofa, a bookshelf, and a vintage büro. Two easels, one large and one smaller for parallel work. I try to change my focus if something doesn’t work, so switching from one to the other refreshes the look. And then, returning back to the painting after a pause gives you the possibility to see mistakes that are easier to correct.
6. What is inspiration for you and where do you derive it from? Do you struggle with periods of burnout or vice versa allow emotions to take up?

My most powerful inspiration is people, their faces, eyes, gestures. As well as the combination of colors in nature, the light falling on my sister’s eyelashes, beautiful thin fingers on the phone, an open ankle, veins on an arm. Traveling is one more source of inspiration, people from other cultures, different smells and sounds. Sometimes absolutely strange things can channel my vibe, and I immediately take photos of them for the future because you never know what will come out in handy.
As for the second part of your question, I used to think that I am the only one having burnouts and that this is due to the fact that I am a rookie in painting. But after talking to friends (great artists with many years of experience and recognition), I realized that all creative people are doomed to bear this burden. We have to release all the energy and replenish it, and the period between these two states is that very burnout. Sometimes it takes longer, sometimes it goes quickly. As a very emotional person, I immediately react to such shifts and at times not at all positively. Frankly, there are moments when I want to break my brushes and throw the picture out of the window. But you come to senses (or somebody gives you a good old “you are not shit” pep talk), understand that everybody sucks from time to time, it doesn’t mean the end of the world, the picture can hit the neighbor’s head and that will definitely not be productive at all. Therefore, I go do some sports (I love MMA) or jogging. Sport helps distract the mind and relieve emotional tension.
7. “Tania’s works are focused on the philosophical reading of the human image and the dialectical concept of the human soul.”- this is a quote from your website. Could you please elaborate more what you mean by this?
We all have things to hide. Something we don’t want others to see, something we wish to keep unknown and untouched, something that makes us – us, both good and bad. With that something comes a story. And my paintings aim to tell that story: unique, brave, and most of all honest. The whole idea of a portrait, of an artist exposing the inner side of a model is very
intimate. That is why I always try to get to know my companion first: to make him or her comfortable, to break the tension which almost always freezes a non-professional model, to learn that very story I’m so eager to translate into visual language. A portrait is not just about the technique, and I guess that is why I’m so focused on it. In order to create something worthy, you have to explore human nature – for the painting to be not about the artist, but about the person on it. Live, sometimes even strange postures and gestures, expressive faces, and the most important part – the eyes full of feelings, secrets, and thoughts.
Through years I’d been trying to find my way to capture that great human lure that cannot be told with words. The answer was discovered in being bold. We are used to seeing the world in colors and textures it comes in, but sometimes they are just not enough to reveal life in its true fullness. Sometimes a touch of a loved one is warmer than the sun, sometimes space becomes ephemeral consisting of nothing but emptiness, sometimes tenderness comes along with anguish, and agony is cloaked with peace. It may not be realistic, but it’s perfectly real.

8.What are your future artistic plans and current projects you are working on.

There is an exhibition currently taking place at the Bonnard Gallery in the Netherlands. I met David and Rene (the owners of the gallery) not so long ago, but I’m already totally crazy about them. They are professionals from head to toes, and I am happy to be working with them. At the moment I am working on sketches for large paintings for Bonnard, as well as for several other galleries in the Netherlands and other countries.

I also do works for my regular clients in St. Petersburg and Moscow. For them I mainly paint historical portraits, some can be seen in the great Astoria Hotel or the Marble Palace. The history of the Russian Empire is my other passion. And I am glad there are people who try to preserve it.
Unfortunately, due to the current situation, many projects had to be postponed, but I believe that someday everything will go back to normal, whatever that normal is. There are a lot of plans and ideas in my head. As well as artistically evolving, developing my style, gaining some trust and acclaim in the art community, and never stopping.

Architecture in Photography. Urban Encounters

Architecture in Photography. Urban Encounters

Architecture in Photography. Urban Encounters.
curated by Irina Rusinovich
NOVEMBER 12, 2020 to November 26, 2020

On November 12, 2020, HAZEGALLERY opens a new  „Architecture in Photography. Urban Encounters”  exhibition. The show  will feature works of 10 international photographers reflecting the relationship between photography and architecture.
Participating artists
Anna Kholina
Fabian Domer
Guido Klumpe
Marcos Rodrigues Velo
Tom Marshak
Veronika Natter
Van Lanigh
Peter Westerhof
Kira gynzalova
Felicia Scheurecker
The opening will take place on November 12, 2020 from 19:00. Please note due to the current circumstances no more than 7 people are allowed to entry the gallery at the same time. To avoid waiting at the opening please register at you will allocated a time slot.

 The entrance is free.

Due to the current circumstances we can not organize a vernissage. We welcome you at the gallery in Berlin during the opening times: Tuesday to Thursday: 11 to 3  pm / Saturday: 2 am to 4 pm and by appointment 
More information:
Bulowstrassse 11 10789 Berlin

PATRICIA TEIJEIRO „wear it and pose“



FASHION PATI SIRÉ @patriciasire
MAKE UP & HAIR CRISTINA GAVIRA @crissmakeupartist
MODEL ADJI NGONE @adjivog from WILD MANAGEMENT @wildmgmt
LOCATION LA INFAME @lainfamestudio
María Ávila for That ́s My Closet Showroom @mariaavilamoda
Patricia Siré designer @patriciasire
Redondo Brand @redondobrand
Paloma Barceló @palomabarcelo
Asos @asos
Magpie Vintage Clothes @magpievintageclothes
Artist and Fleas Williamsburg @artistandfleas
Parfois @parfois
Mango @mango

MBFW Russia: How It Was This Time (Part 2)


Julia Kryshevich

MBFW Russia: How It Was This Time (Part 2)

In the previous part we’ve started reviewing trends spotted this season at Mercedes Benz Fashion Week Russia, which ran phygitally from October 19 till 23. Having figured out how new femininity and gender fluidity are mirrored in the designers collections, we are proceeding with the rest of the trends. 

F U T U R E    I S    C O M I N G

Humankind has always wondered what the future might look like. While many of us tend to have a more positive vision of tomorrow, some highly sensitive and thinking individuals like artists and scientists often suggest their anti-utopian views. One thing’s for sure, whether wonderful or terrible, the future will be different (and it will never reach our minds). Nevertheless, it’s so exciting to think how things can be. Why not daydream? 


Designer Olga Kapitonova, the founder of N.Legenda, suggests that the future is already here. At least, the models walking the runway at N.Legenda latest fashion show made us think we’re ready to go into outer space. No, they didn’t wear any space suits, but the colours featured — corrugated silver, metallic petrol, and galaxy blue — created the right sci-fi futuristic look. Tunics, suits, coats, and jackets from the N.Legenda SS 2021 collection are also rather agender, which broadens the scope for experiments.

Participants of ‘Fashion a la Russe’ project 

Participants of the Krasnodar-based ‘Fashion a la Russe’ project boldly forecasted the vogue trends for the upcoming season. Kazakova Olga suggests that attached decorative prints ideally match flower frocks (some heavy boots like grinders are preferred so that the entire look doesn’t look fruity). Klimovskikh Valeria (KLIMOVSKIKH) prefers adding mysterious symbolic elements to the outfits, while Nadezhda Belousova (ValNa Fashion) bets on the hand-crafted capes that resemble a fishing net. 

B&D Institute 

All new is well overlooked past, everybody knows it. So to come up with fresh ideas in fashion you’d better ‘confer’ with some acknowledged couturiers. Just like the students of the Moscow Institute of Business and Design (B&D) did. Inspired by the figure of Alexander McQueen, his aggressive and vulnerable, romantic and passionate, and just extraordinary manner, they created a series of controversial and highly stylish outfits made from the biodegradable material. ‘What does the future of fashion look like?’ — the B&D students ask the viewer and immediately respond. ‘It’s hardly possible to explain. Just watch’. 


The motto for the new collection by LOKOTO could be: ‘Future’s not everybody’. In line with the early 20th century avant-garde artists, Lena Anikeeva, ex graphic designer and LOKOTO’s CEO, decided to cut off the extra to prepare for the bright future. Just three colours of the basic palette chosen (red, black, and white), direct lines, and clear geometrical shapes — the recipe for success seems easy. Lena Anikeeva finds that clothes are like architecture — it’s the silhouette and convenience that are of primary importance. And we couldn’t agree more. 


Another version of the future a la avant-garde belongs to the Ukrainian-born brand kØd (Dutch for ‘flesh’). The latest collection of the brand stands out through a series of careful red stitches, thorough colour selection (the trio chosen by LOKOTO plus blue), and unexpected accessories. So, forward into the future, with some flowers in your hand? 

T R I U M P H   O F   T H E   C O L O U R

Spring and summer periods seem the perfect time to dress brightly. Sounds easy, doesn’t it? Yet just a few of us dare to express themselves through an intense colour palette. Taking an example from some fashionistas might help. 


Ode to colour green in the new collection by 1377. Although newly-minted (tailor Sasha Zhurina founded 1377 three years ago in Volgograd), the brand regularly takes part in major fashion events worldwide such as Paris, Shanghai, and Tbilisi Fashion Weeks. The upcoming spring promises to be enchanting with a broad green colour spectrum suggested by the designer: emerald, pistachio, pine, moss, sea green etc. Loose shirts and coats and jackets emphasize the laid-back mood of the collection, while the only female mannequin featured shows 1377 is a menswear brand (rather unisex at heart, though).

TSIGANOVA and Konyukhov Art

Victoria Tsiganova is not only a prominent singer, but also a designer. Her latest collection has been issued in collaboration with the famous Russian traveler Fyodor Konyukhov, who just like many gifted people has various genii. Apart from traveling, Fyodor creates paintings, which inspired TSIGANOVA to set up a very colourful vivacious series devoted to his art. The designer isn’t afraid of bold combinations of colour and styles, she also generously embellishes her outfits with prints and patterns. That’s how an artist’s imagination might probably look like.

Annais Yucra 

The Peru-based designer Annais Yucra names herself an ‘artivist’. In her collections she calls for freedom of artistic expression and raises social issues. The SS 2021 by Annais Yucra is built upon colour blocking principles, yet the colour palette engaged is the very definition of tenderness. All shades of marshmallows are featured in the garments, while the cuts either follow the body shape or flirtatiously conceal it. 

Maison Kaleidoscope 

Taking on the role of a jungle dweller? Only green lights with the new collection by Maison Kaleidoscope. Fabrics from different parts of the world such as Egyptian cotton, Italian viscose, and Australian wool fed into the wild animal kingdom with every kind of flamingo, cobra, cheetah, and tiger present. No, it looks nothing but a masquerade, no exaggeration here. Just elegant facetious looks moderately spiced with spots-and-stripes prints, feathers, and embroidered fauna silhouettes. Trends spotted: highly-set cloche hats from the 1920s and woolen balaclavas.

B A C K   T O   T H E   R O O T S 

A few Yakut designers are on the list at MBFW this time. Together with some other couturiers they willingly show their belonging, praising the native cultural practices and making them available to the wider public. Finding inspiration in the local is a new auspicious trend, which is clearly manifested in different fields of visual arts (fashion is no exception).

Marfa Fedorova

Returning to the roots in the view of Yakut designer Marfa Fedorova initially means getting closer to nature. Reminiscing about the beauty of home boreal forests, Marfa Fedorova introduces purely natural hues within her new collection: e.g. sky blue, pine, sandstone, and clay. If it’s a choice, just loose cuts are preferred. And the sweetest ushanka-hats in tow. 


‘саһарҕа’ (Yakut for ‘sunrise’) is the first collection by the brand 050 to be performed on the principles of upcycling. Old vintage fabrics have formed the basis for a series of mostly snow-white authentic garments. Much focus on details plus unusual tricks like tied-up ribbons instead of shoes on feet. ‘Culture keeps on thriving, rebirthing out of the previous forms of life’ — so goes the 050 statement.


Another Yakut brand SOLKO doesn’t get stumped by the work-life balance issue. The new collection by SOLKO features smart dresses, raincoats, skirts, and suits that a woman can wear both for work and leisure. Warm intense shades of the garments together with a ‘frosty’ makeup (apple cheeks, red lips, and white skin) enhance the vigor and decisiveness of the owner. Shirt collar is a new trend.

LES by Lesia Paramonova

A completely different vision of the call of nature was presented by designer Lesia Paramonova. Her brand ‘LES’ (Russian for ‘forest’) went pagan this season paying special attention to rituals. Images of birds symbolize freedom and cohesion of matter and spirit, while beads on bag handles might attract good fortune. The colour palette is no less exciting: cold hues like blue and gray stand for water, while warm and tender ones embody spring and warmth and blossoming flowers.

That’s it for now. See you at the next MBFW in spring 🙂 

All photographs provided by the press-office of Mercedes Benz Fashion Week Russia