Monthly Archives

September 2021

Anna Kurmaeva „born for gold“



Photographer/Producer/Retoucher: Anna Kurmaeva @solar.anny
Art director/Wardrobe stylist: Nina Gusarova @gnina_style
Make up artist/Hair stylist: Irina Starinova @iriss_star
Model: Alina Pavlushova @iambeba

Dress – SPRWMN @sprwmnofficial Tights – Calzedonia @calzedonia Boots – MSGM @msgm Accessories – Vintage; Body – Alex NYC @alixnyc Accessories – Vintage

Dress – Michael Kors @michaelkors Jumper – Tibi @Tibi Boots – MSGM @msgm; Dress – Michael Kors @michaelkors Boots – MSGM @msgm Accessories – Vintage

Jumper – Tibi @Tibi Tights – Calzedonia @calzedonia Sandals – Preppy @preppyshoes

Dress – Toteme @toteme Sandals – Simmi London @simmishoes; Dress – Michael Kors @michaelkors Boots – MSGM @msgm Accessories – Vintage

Dress – SPRWMN @sprwmnofficial Tights – Calzedonia @calzedonia Boots – MSGM @msgm Accessories – Vintage

Top – Theory @theory Pants – Fendi @Fendi Sandals – Simmi London @simmishoes

Overalls – Hannah Artwear @hannahartwear Boots – MSGM @msgm

Body – Alex NYC @alixnyc Accessories – Vintage

Arnaud Ele & Laura Knoops „drapes“



Photography by Eleknoops — Arnaud Ele & Laura Knoops @eleknoops @arnaud.ele @knoops @cosmopola_berlin
Styled by Sonja Hodzode & Judith Gölzer @sonja_hodzode @judith_goelzer
Muah by Victoria Plekhanova @diekunst @agency_bigoudi
Model: Malaya Stern Takeda @malayatakeda @vivamodelsberlin

Shirt: Schepperheyn @schepperheyn Pants: Stella McCartney @stellamccartney Socks: Falke @falke Sneaker: Adidas @adidas; Bra: Frances.O @frances___o Pants: Henrik Vibskov @henrikvibskov Sneaker: Saucony @saucony

Scarves: Schepperheyn @schepperheyn; Shirt: Schepperheyn @schepperheyn Pants: Stella McCartney @stellamccartney Socks: Falke @falke Sneaker: Adidas @adidas

Blazer: Joseph @josephfashion Sneaker: Asics @asics_sportstyle; Blouse: House of Gobin @houseofgobin Pants: American Vintage @americanvintage_officiel

Top: Iceberg @iceberg Earring: Acne Studios @acnestudios

Blanket: Laura Knoops @knoops Earring: Ni Daodao @takeoni; 

Bra: Frances.O @frances___o Pants: Henrik Vibskov @henrikvibskov Sneaker: Saucony @saucony

Shirt: Prada @prada Scarves: Schepperheyn @schepperheyn Graphic prints: Laura Knoops @knoops @zigzagzurich Floral prints: House of Gobin @houseofgobin; Stockings: Hēdoïne @hedoineofficial Ring: Mies Nobis @miesnobis; Top: Iceberg @iceberg Earring: Acne Studios @acnestudios

One Step Further with Form. Function. Friendship. Family. Freedom. Fassbender.

One Step Further with Form. Function. Friendship. Family. Freedom. Fassbender.

For Spring-Summer 2022, Fassbender goes on a journey to one of the founders most beloved places: Ibiza. Since childhood, this special place with its breathtaking landscapes and warm, welcoming people has been Christina’s and Sebastian’s summer sanctuary. Diving into the rich culture of this Mediterranean island, Fassbender blends its signature Hanseatic elegance with Balearic colours, textures and heritage.

The 29 looks reflect the colours of the Mediterranean with bright coral and blue inspired by the paintings of Carolanna Parlato and Sarah Crowner, whereas natural sandy shades are reminiscent of Spanish deserts. Paying tribute to Balearic artisanship, Fassbender presents their first jewellery collection with Galician ceramic artist Maria Josefa Sanchez Castedo. The floral necklaces, bracelets and ceramic details are influenced by Mediterranean fauna – delicate, yet strong. Essential wardrobe styles are complemented with new playful summer dresses that celebrate the joie de vivre of Ibiza.

With a deep respect for our environment and the life within, Fassbender continuously searches for the most exciting innovations to make fashion more sustainable, and ultimately more beautiful. For the SS22 collection, Fassbender also continues to support small environmentally-friendly productions. The collection features a light leather jacket made from the novel Desserto® cactus leather and a signature fringe dress made of a unique sustainable cotton-and-lyocell-mix, developed exclusively for Fassbender by an Italian manufacturer.

As part of the SS22 collection, Fassbender also launches its first classic denim collection, which can be ordered straight from the runway. Based on new, innovative dyeing processes, the production is nontoxic and environment-friendly compared to conventional denim making. Staying in line with nature’s resources, the collection features five different fits in five natural dyes.

Furthermore, to show how sustainable fashion comes full circle, Fassbender Second Life will debut in September 2021 to offer personalized custom-made, up-cycled garments from previous seasons‘ stock.

About Fassbender
Fassbender is the eponym of elegance and strength. She is a woman on the move, effortlessly balancing family, friends, and work. She is creative, smart and vivacious, chic, but with a sense of sophisticated Hanseatic understatement. And she cares. She cares deeply about the people around her and the environment she inhabits.

Fassbender is a Hamburg-based label that brings together the elegance of sophisticated tailoring, comfort and functionality. A Fassbender garment is an everyday piece that accompanies women alongside the rainy morning walk or a summer hike and still shines during an evening cocktail dinner.

Founded in 2017 by fashion industry veteran Christina Fassbender with her brother Sebastian Steinhoff, and designed by New York-based creative director Matthias Louwen, Fassbender is a business led by family &friends with a strong commitment to quality and responsibility.

Fassbender believes in the connectedness of living beings and nature and works towards a responsible circular economy that respects the environment and all its life. Every season, Christina and her team explore the newest material innovations, all sourced from certified workshops with the highest ethical standards for everyone involved in the creation process. Natural materials, like alpaca and lamb’s wool, are produced by animal-friendly farms, the peace silk is made without sacrificing living silkworms, the vegan leathers are sourced from organic materials and the label is continuously increasing the share of recycled materials in the collections. From head to toe, Fassbender is made in Portugal and Belgium and is committed to responsible production for everyone and everything involved.

Every single Fassbender piece is made with a human heart and creativity. The designs are handmade on a dress form, manually drawn and perfected with meticulous cutting techniques. Each garment is worn and tested by Christina and her friends before going into production to make sure it feels as beautiful as it looks.

Digital Dreams, Uncanny Feeling: Interview with Curators of Ars Electronica Project Helena Nikonole and Oxana Chvyakina

By /ART/

From left to right_ curators Helena Nikonole and Oxana Chvyakina at the opening of ‘Uncanny Dream’. Electromuseum in Rostokino, Moscow (03.09.2021). Photo_ Kseniya Yablonskaya

J u l i a  K r y s h e v i c h
K s e n i y a  Y a b l o n s k a y a

Digital Dreams, Uncanny Feeling: Interview with Curators of Ars Electronica Project Helena Nikonole and Oxana Chvyakina

The recently opened Ars Electronica festival puzzles us with this year’s theme A New Digital Deal. And it’s not that we haven’t shaken the idea of the omnipresent digitalization, which has reached its apogee during the global series of lockdowns, but just the very thought occupying our minds, how can we deal with that? May the new order of things change our lives for better or worse? And eventually, is that such a new thing? 

While the current edition of Ars Electronica is running in a hybrid format, which both implies on-site events in different countries around the globe and online projects, I was lucky enough to personally meet Helena Nikonole and Oxana Chvyakina, the curators of the Moscow-based ‘Kepler’s Garden’ this year (the 2020 concept of ‘Kepler’s Gardens’ has successfully assimilated in the ground of the festival, so that this time the system of ‘gardens’ has spread itself internationally). Oxana and Helena have in detail told about their project Uncanny Dream: the way it matches the spirit of the time, correlates with the general idea of the edition, and seamlessly rests upon personal links.

‚The Becoming‘ by Pavel Seldemirov. Courtesy of the Artist

Helena, Oxana, I am really glad to be speaking with you today, a week away from the opening of Ars Electronica, one of the biggest digital art festivals in the world and probably the most famous one.  

Just before we get down right to the topic of your exhibition, I would like to focus particularly on the Ars Electronica festival. What are your impressions of this season? Is it the first time you take part in the event? 

Helena Nikonole: Personally, I have visited the festival many times. Before the pandemic, I took part in Ars Electronica both as an artist and as a curator. Just last year, together with my colleague and the other curator Olga Vad, we intended to exhibit in Linz, but as the pandemic spoiled our plans, we had to transfer the show to Moscow, to the Electromuseum. Parallel to it, we created an online part. So, yes, this is the second time. 

This year I have invited Oxana to join me: I chose Oxana because of her incredible experience in curating the Wrong Biennale (an art biennial for digital culture hosted online since 2013). I just thought we would make a perfect duo 🙂 

Oxana Chvyakina: As for me, it was my first Ars Electronica experience. I have curated online projects before, but the thing with the Ars Electronica festival this year was to create a hybrid event. The exhibition Uncanny Dream will take place both on-site, in the Moscow-based Electromuseum and digitally. The theme for this year sounds like A New Digital Deal. The festival’s system is conceived as a network of gardens spread over the world. So we decided to create one in Moscow. I am happy to be doing it together with Helena. 

‚Stopping Light‘ by Ivan Netkachev. Courtesy of the Artist

That was exactly my next question. The currently unfolded age of ‘Coronacene’ has affected Ars Electronica — as you have already mentioned, today it hosts both online and offline projects on par. To your mind, what influence did this ‘going digital’ step have on the entire concept of the festival, if any? 

H.N: Actually, it is the second time the Ars Electronica festival hosts its projects in a hybrid form. I guess this year the organizers of Ars Electronica have learnt some lessons from 2020, so they could incorporate the experience. 

You know, the huge part of the festival, which is networking — when you just enter the show and meet new people — is missing this time. That’s why they came up with those special platforms and Swapcard that represent a virtual space for connecting with others. You just visit the platform, see the profile pics of those who have joined the conversation, and dive right in! I think it helps. The point is, we would still like to go to Linz with the artists to attend Ars Electronica physically, but in the circumstances, at least, we have some digital opportunities.   

The one that I particularly cherish is coming ahead. On September 11 there will be a 24-hour multimedia performance in the Moscow-based Cube art space, with a live stream running parallely on the project website. The participants will construct a disturbing image of an everyday global catastrophe, elements of which surround us during the third decade of the 21st century. Different toolsets like electronic musical instruments, game engines, DIY synthesizers, the artists’ voices and many others will be involved. The performance promises to be a great event, which might open up the topic of Uncanny Dream even more. I’m glad that it will be available digitally, which means globally. 

‘Charon AR’ by Vladimir Sheshak. Courtesy of the Artist

‘Charon AR’ by Vladimir Sheshak. Courtesy of the Artist

The artistic co-director of Ars Electronica, Gerfried Stocker once shared his opinion on the way the festival functions: Ars Electronica is all about the maximum flexibility and improvising. Can you agree with the statement? What features and characteristics have you noticed in the work of the festival? Which of them would you perhaps like to see on the local arts scene or even implement in your own curating practice? 

H.N. Of course, Ars Electronica is about improvising. Gerfried Stocker is at the head, and he is the one who carries the vision. The festival organizers do it from one edition to another, but 2020 and 2021 have been a special case, because of the difficult conditions everyone has to face now. The organizers have just realized, they could not make it the way they used to over the past 30 years. As a result, Ars Electronica has become even more international. I also think they are stimulating the growth of the local communities by proposing changes and taking new initiatives.

O.C. On my part, I would also point out professional networking as a big advantage of taking part in Ars Electronica. The organizers seek to create a network of artists, curators, critics, and all those who have to do with the new media arts. As an emerging curator, I appreciate it a lot. 

‘Aeternum illud’ by Xenia Obukhovskaya. Courtesy of the Artist

Now let’s talk about your project. The festival has a rather labyrinthine structure, which perfectly rhymes with the concept of ‘Kepler’s Gardens’. Uncanny Dream takes place in the Moscow-based Electromuseum in Rostokino, which is a member of the Moscow Exhibition Venues Union. How would you define the location of your exhibition towards the entire system of the festival, complex and intertwined? 

O.C. For some reasons we didn’t face any kind of selection when applying. At least, we heard nothing of that. Once the organizers received our proposal, they were very excited about it, so we had really positive reviews about the project idea. I think Helena and I have just put one bullet in the bullseye. You know, the topic A New Digital Deal sounds vast and speaks for itself, so the exhibition Uncanny Dream has perfectly fitted in the entire concept of the festival. 

Uncanny Dream tackles the issues of the ‘Coronacene’ epoch, which is relevant for people around the globe today. Actually, we are going to have an introductory online meeting with all the curators of ‘Kepler’s Gardens’ in a few days — the situation is different everywhere, and it changes! How should we deal with it? What kind of future awaits us? So I would say, our show mostly focuses on the mediums that answer those how-questions. 

H.N. I think the other reason for including Uncanny Dream in the program was the interest of the organizers towards the Russian community of new media artists. That is what Martin Honzik, the festival’s director and curator told me in person: You have an amazing community of artists in Russia, but it feels like you are underrepresented globally. 

What is also striking, this year we engaged young artists only a.k.a. ‘digital natives’, whereas in the previous editions there were participants from different generations and different post-Soviet countries. It is just Moscow and Saint Petersburg this time. As curators, we focus on the ways ‘digital natives’ explore the digital space in times of the pandemic. The organizers appreciated our concern for video games within the exhibition, while it is certainly the format that needs to be displayed online. Uncanny Dream has a true hybrid spirit — viewers can enjoy it both digitally and physically. 

‘Aeternum illud’ by Xenia Obukhovskaya. Courtesy of the Artist

‘Aeternum illud’ by Xenia Obukhovskaya. Courtesy of the Artist

Uncanny Dream features works by 14 artists and 1 art collective. All of the participants reside in Russia and do digital art; apart from that, they have very distinctive backgrounds: e.g. in game development, architecture, and music. What selection criteria did you use while inviting the artists to become a part of the project? Were the personal links also in play? 

H.N. Many of the artists selected are either from the Rodchenko Art School or the School of Contemporary Art Free Workshops
(Moscow Museum of Modern Art). Some of them are my students (Editor’s note: Neural Networks in Arts and Art & Science are Helena’s author’s courses). Together with Oxana we discussed which of the artistic projects could or better not be shown online. Oxana also suggested inviting some people from the Independent Video Games Community. Besides, the list of participants for Uncanny Dream includes artists like Yuliya Kozhemyako (Supr) and Fedor Balashov (WASDSWAG), who have already gained some international recognition. For instance, Yuliya has exhibited at the Venice Architecture Biennale this year.

O.C. Ideally, there should be an educational platform for the emerging media artists, so that they could later integrate into the global digital arts community. You know, it is hard to be a self-taught artist in the field of technological arts now. I guess educational and exhibit opportunities interlink here a lot.
Originally, we thought of organizing an open-call, but unfortunately we didn’t have enough time for it. There were only three months to prepare the entire project. That is why we decided to use personal links. After all, many things work like that in the contemporary art world. 

H.N. I agree. As a lecturer and an independent curator, I often include the works of my alumni in some bigger art projects. It is like a short path from the classroom to the big art world, so to speak. 

‘Neurofrodite’ by Nika Peshekhonova. Courtesy of the Artist

The press-release of your exhibition explains the title Uncanny Dream as an uneasy feeling one gets because of the ever-changing reality. The text says, the exhibition tackles such acute issues as AI bias, different forms of biopolitics, social isolation, and loneliness during the pandemic, which does not sound bright at all. Yet did any of the artists from those whose works have been selected for the Uncanny Dream dare to bring a more positive perspective on the topics listed above? 

O.C. I don’t think anybody would describe this feeling as a depressive one, because of the emotional distance implied. As for me, the exhibition focuses on the common experience we all have gone through, it doesn’t have to do much with one’s personal feelings or state. 

H.N. Yet I guess many of the artists intended to display that uncanny feeling. For example, Pavel Seldemirov’s project is exactly about that kind of sensation one has probably experienced during the pandemic. You know, the exhibition also suggests a metaphorical way of seeing things: a fairytale forest, which makes you feel… well, uncanny. 

The following question I would like to be answered by each of you. Please choose one of the works featured at Uncanny Dream that, in your opinion, is essential for understanding the idea of the entire display. In other words, which work should the viewer pay special attention to?

O.C. I would definitely mention video games. There are like six of them, the works of Yuliya Kozhemyako, Katya Gallitskaya, Xenia Obukhovskaya, Anastasia Koroleva, Alexey Ryabov, and Pavel Seldemirov.

H.N. Yes, all of them discuss the pandemic experience, the major topic of the show. Given that the viewer is into video games, (s)he would easily grasp the idea. 

‘Generotic art’ by Fedor Balashov aka WASDSWAG. Courtesy of the Artist

‘Generotic art’ by Fedor Balashov aka WASDSWAG. Courtesy of the Artist

Helena, Oxana, I wonder how you came together as a curatorial duo for the current exhibition. Your backgrounds in new media arts seem to overlap, and, most probably, being based in Moscow, you knew each other before. How did you share the duties within the project? Was it easy and fast to reach agreement on the concept? And what is the best part of curating the show together? 

H.N. I really enjoy working with Oxana and I like the very idea of collaboration. You know, while collaborating with someone, you can better see the other person’s perspective, which contributes to making the project multidimensional. 

O.C. Yes, me too. I think we have made a very good team with Helena. By working together we can share our duties and discuss everything. We just have a gut’s feeling of what needs to be done (laughing). Perhaps, this is an indicator of us having grown up to high professional standards. 

I wonder to whom of you the idea of the project belongs…

O.C. Helena came up with the title and the main idea for the exhibition, I would say. Afterwards, we have just got down to elaborating the concept. Personally I find it complicated to name things, whereas for Helena it might be easier.

H.N. Oh no, I am usually bad at names.

O.C. Really? 

H.N. Honestly! However, this time it was very natural, I just had a picture in my mind, so I decided to follow it.  

‚In Between‘ by Katya Galitskaya. Courtesy of the Artist

My last question, art curators just like artists usually appreciate all the projects they had in their creative career or, at least, the ones they decided to include in their portfolio. However, some exhibitions/initiatives are particularly appreciated. Can you say that Uncanny Dream as a form of your participation in the Ars Electronica festival was exactly the kind of experience you value so much? If so, how do you think it has shaped or will shape your curating practice? 

H.N. Of course, it’s special. No idea how it is going to shape my future experience (laughing). It’s hard to say. 

O.C. Well, taking part in Ars Electronica is definitely important for my career as a curator. I wasn’t sure of that when we just began working on the project, but now I am, absolutely. 

H.N. I still hope we will be able to bring our project to Linz next year. 

O.C. Hopefully. 

2021 Ars Electronica Festival takes place from September 8—12 in its headquarters in Linz (Austria), locally, and online.

‚The Becoming‘ by Pavel Seldemirov. Courtesy of the Artist

You can learn more about the project ‘Uncanny Dream’ and follow the news here:
And don’t forget to visit the festival website:



NASTYA NEKRASOVA, a Russian brand and permanent participant of Mercedes-Benz Fashion Week Russia joined MBFW Berlin for the first time. The video presentation of NASTYA NEKRASOVA’s digital collection was streamed at on September 7, as well as at MBFW Berlin’s official social media accounts. The digital show by NASTYA NEKRASOVA was arranged under the global initiative MBFW International Editions Vol 1 for designer exchange between Mercedes-Benz Fashion Weeks.  Mercedes-Benz Fashion Week Russia in Moscow and Mercedes-Benz Fashion Week Berlin made an agreement, and in turn a designer from MBFW Berlin will join the fall season of Mercedes-Benz Fashion Week Russia scheduled for September 19 through 23.

“The new collection has been inspired by ASSA, a super-popular Soviet film, namely the night dreams of the protagonist,” says Anastasia Nekrasova.

“Global collaboration and allying are major trends of the new era. The more experience we share, the more we communicate, all the more opportunities for designers from across the globe – it is easier for them to get into the spotlight, to be sustainable and unique,” believes Alexander Shumsky, President of Russian Fashion Council and Mercedes-Benz Fashion Week Russia.

NASTYA NEKRASOVA uses organic and recycled materials, supports local artisans and manufacturers and follows the slow fashion principles – less clothes, better quality. In 2021, the brand started a new totally digital clothing line.

Mercedes-Benz Fashion Week Berlin is taking place from September 6 to 8, both offline and online. Complementing these shows are presentations of fashion films by Marc Cain and talks by „She‘s Mercedes The Studio X MBFW Berlin“, a panel talk of the „Fashion Council Germany“ and three „Fashion Open Studio x MBFW talks“.

Russian Fashion Council:  

Mercedes-Benz Fashion Week Russia:

For additional information, please contact:

Mercedes-Benz Fashion Week Russia

Artyom Brusov „Honeymoon Trip“



Photography and Fashion by Artyom Brusov @seebiome
Modelling by Anastasia Brusova @odninepriyatnosti

Swimsuit by H&M and Vintage Pareo

Vintage Dress

Dress by H&M, Vintage Dress

Dress by H&M

Vintage Dress

Vintage Dress and Sandals by Zara; Dress by H&M

Vintage Dress and Sandals by Zara

Vlady Vala „Fleur Sauvage“



Photographer/Vlady Vala @vladyvala
Stylist/Arina Orlova @arinaeagle
MUA/Caterina Mannarino @caterinamannarino_mua
Hair/Tobia Bartolini @_tobiabartolini_
Set Design/Mos London
Model/Dee @iamdobrawa Body London @bodylondon_
Retouch/Olivia Kiss @okissretouch