About 35 years have passed since the dissolution of the USSR in 1991. Since then, during recent modern time, it could be said, Russia has had two ground breaking momentums in its fashion industry. The first momentum was the dissolution of the USSR, which followed with the birth of fashion entrepreneur industry in 2000s. The second pivotal momentum was the unilateral implementation of sanctions by the Collective West in response to the Russo-Ukrainian Conflict in early 2022, which allowed Russian fashion to step up and to take its independent course in fashion. Currently Russian fashion industry is still in its aftermath phase of its second momentum. In the future, Russia may reach its third momentum by becoming internationally recognized fashion capital. However, there is still plenty of room for development and growth.

During the Soviet era the fashion-retailing production industry was state controlled. The government focused on large-scale and factory production, which involved significant state intervention in the economy [1, 2]. This meant absence of private sector investment and its participation – this approach was very prominent in Communist and socialist countries [1, 2]. On the one hand, such state strategy aimed to obtain rapid industrialization and to boost country’s power in manufacturing, in military sector and in fostering competitive advantage in new technology development [3]. On the other hand, this led to a wide unpopularity, poor-quality, identical goods and shortage-surplus production; as there was absence of competition between private sector, limited innovation-productivity due to lack of profit motivation, lack of accurate prediction of consumer needs and/or production capabilities, and individual freedoms and choices were restricted [4].

This meant that there was a ‘thorny’ relationship between the Communist/socialist government and the consumer [5] – a clash of human nature and state – that earned for consumption and vivid ‘shopping’ and emotional experience. Unfortunately, the government was uncustomed in filling these needs and demands of consumers in the Soviet regime. As Bogdanova describes:

“Being a Soviet consumer was not easy. You could not just go shopping in order to get everyday goods for yourself and your family. You needed time and patience to stand in queues. You need the right contacts to get hold of goods which were difficult to obtain and in short supply. You needed to know when goods would be delivered and the rules of trade, so as to be able to find what you wanted. Dealing with shop assistants and customer service authorities sapped your strength. Everyday consumption became something more than simply consumption.” [6]

Hereby, the failure to provide ‘quality, readily available and choice’ by the Soviet government of the time led people to seek for alternative ways to fulfill their customer needs and demands. This would have usually taken place though black market in search of foreign-made items and private exchanges [5]. Consequently, this resulted in formation of an opinion, which persisted for very long time, as Lyudmila Stebenkova (Chair of the Moscow City Duma Committee on Interparliamentary Cooperation) notes, that Russians were convinced that only Western companies were capable of setting fashion trends and provide quality garments [7]. In other words, Russian fashion production industry was perceived to be of a poor quality and ‘non-existent’ pretty much.

The reason for such perception was mainly due to the politico-moral superiority of the USSR to demonstrate economic predominance in abundance of consumer goods, which the party claimed to know the public’s economic and social needs; which, eventually, became its ‘uncalculated’ downfall [5]. As a result, this goal was unachievable and unattainable due to persistence of shortages, poor quality goods, limited choice and generally lower living standards [5, 8]. This ‘miss-match’ revealed vexed dynamic towards consumers and the consumption on behalf of the Soviet government [6].

However, in 1991 the USSR collapsed. This marked a historical turning point not only for the modern Russian fashion history, but also its industry as a whole; especially in the context of ‘consumerism’ and economy in the post-USSR country – Russia. Firstly, the collapse of the USSR meant a change in the economic system from being state controlled it became open, capitalist, which entailed a ‘hands off policy’ where government would not interfere with the market force [9]. This encouraged privatization of businesses, which introduced profit earning as a motive and competition as discipline in relation to pricing policy between enterprises [9]. Besides privatization, free foreign trade also became possible with other countries. Goods flowed into the ‘new’ country, Russia, in abundance. Hereby, it is possible to state that the collapse of the USSR in 1991 was the very first turning point in modern Russian fashion history, which gave Russia the very first access to free and open fashion without constraints.

As a result, for about 74 years (1917-1991) under the Communist regime [10], Russian population (consumers) were not able to experience ‘free shopping’. This absence of shopping experience, as we may call, created ‘hungry consumerism’ where Russian people ‘yearned’ for ‘open and free shopping experience’ in order to satisfy consumers’ physical, psychological and emotional needs and demands. ‘Shopping experience’, according to psychology, involves secretion of endorphins and dopamine hormones that create a feeling of ‘good retail therapy’ experience, which releases brain chemicals for temporary mood boosts, stress relief, feeling of control [11]. Consequently, the collapse of the USSR awakened a trend, a phenomenon, called ‘logomania’, which was popular in the 90’s. This “fashion trend was defined by the excessive, prominent and large display of brand logos, often repeated across clothing and accessories to showcase brand loyalty, status and identity, creating a loud and bold visual recognizable statement” [12]. Considering the timing of the USSR collapse in 1991 and the logomania trend in the 90s’ for Russian people/consumers it symbolized ‘liberation’ from the ‘restrictive’ past [12].

My mother used to say, Russian people are aware of beauty standards, dressing up and grooming. As a result, in post-1991 the ‘beauty consciousness’ of dressing up among Russians was amplified through logomania, as Russian people/consumers from the Soviet heritage were prone for the logomania trend. For Russian people/consumer logomania of everyday Western consumer – such as Addidas sportswear costume, the Bounty bars, bubble gum, big Macs, etc. –symbolized the ‘forbidden delight’ and an ‘unattainable lifestyle’ at a time and by being able to get a piece of such luxury made consumer feel as if he/she belonged to a certain world community and social status [13]. Thus, logomania in the post-Soviet era in the 1990s’ – especially in communist heritage countries – carries a symbol of an ‘escape’, a breakthrough, from the restrictive past and scarcity to the new and open world where owning these logos signified belonging to a globalized and modern world [13].

However, there was a downside after the collapse of the Soviet Union. Russia was plunged into chaos as successive governments tried desperately to introduce new economic and political system to replace the old one [14]. The problems were vast – inflation, unemployment, poverty, trouble in Chechnya and clashes between Yeltsin and parliament, etc. [14]. As a result, corruption upsurged, which made the internal state of the country unsafe, economy unstable and uncertain; correspondingly making business sphere risky and dangerous, due to absence of order and lawlessness. However, this lasted till early 2000 when Valdimir Putin came into power. He was determined to stop corruption by destroying the oligarchs as a class, as he put it – “to develop a strictly controlled market economy, to restore law and order and to bring an end to the war in Chechnya” [15].

Once law and order were brought into Russia after the 90s, so did the fashion industry start to emerge. Thus, the early 2000s could be referred as the birth moment of Russian fashion industry, as some designers commenced their journey only then; similar to European counterpart of great fashion houses back in Coco Chanel, Christobal Balenciaga, Christian Dior, Yve Saint Laurent, etc. years [16, 17].

Next turning point in Russian fashion industry can be linked to the implementation of unilateral sanction by the Collective West in response to the Russo-Ukrainian Conflict in early 2022 against Russia. The aim of the sanctions was to cut off and to result an isolation of Russia as a whole from the rest of the world economically by imposing vast range of economic sanctions ever historically known before [18, 19].

This unilateral political move drastically changed not only the relationship between the West and Russia creating an ‘artificial iron curtain’ between these two political landscapes, but also drastically impacted the fashion industry in Russia. As a result, many luxury and mass-market brands either voluntarily or by following sanction orders officially left and suspended their operation in Russia. With sanctions, the Collective West was expecting Russia to crumble down and experience a throw-back economically and development wise, which would have brought Russia to her knees. In this case the Collective West would have been again in the position to ‘dictate’ conditions according to which Russia would have been obliged to follow and to play along; similar to the setback case that the USSR experienced in 1991 dissolution. In regard to fashion industry this would have left Russia without access to the ‘Western’ fashion and Russian population (consumers) without ‘logomania’, which at one point of time symbolized ‘liberation from the restrictive past’, belonging to a certain social status, to the new and open world. However, this did not happen and this was not the case anymore with Russia. Personally, have heard that some Russians definitely do miss some Western items, such as IKEA and occasionally Zara, H&M and Mango, but that is pretty much all.

Instead, Russia was able to readjust itself very quickly and adapt to new economic and political realities. Simply put, Russia is doing way better than prior-sanctions. Prior-2022 sanctions Russian economy was ‘dependent’ on Western/foreign investment, while in post-2022 Russia was able to ‘take back’ its economy and business spheres under its control. Unfortunately, the West did not expect this kind of turn of events.

In the new economic and fashion realities, Russia faced an ‘artificial iron wall’ imposed by sanctions. This meant that Russian fashion market was vacated from the Western brands and now domestic brands were free to take their own developmental path in Russian fashion industry; which they did. This allowed Russian fashion industry to create its own distinctive signature style when producing fashion; which is different to the Western fashion. Igor Andreev (stylist, designer in Vereja brand) terms it ‘Russian identity’ that is being translated/reflected in Russian fashion [20]. Some brands translate ‘Russian identity signature’ more in their garments than others depending on how brands work and reinterpret the Russian cultural heritage code in their fashion. As a result, Russian garments feel and look different; compared to the Western counterpart. Personally, would describe Russian fashion embodying the notion of “Russians have a broad soul” (in Russian “Широкая Русская душа”) – you just see and feel it in the garment.

Not only number of domestic Russian brands emerged, but also the quality of garments was improved and upgraded reflecting more of the luxury standards, compared to prior-2022 years. Consequently, marketers have started to stress on ‘Made in Russia’ label, as research by Fashion Consulting Group has demonstrated that for over 50% of Russians, knowing that the product is made in Russia, positively influences their purchase [21, 22]. Furthermore, today 60% of Russians rate clothing and footwear from Russian brands being of high-quality [22]. Thus, the second momentum that Russia experienced in early 2022, due to implementation of sanctions by the West, has definitely redefined and changed modern Russian fashion history completely and its industry. From now on, Russian fashion will have its own independent voice and influence in international fashion world, as wearing Russian clothing has become not only comfortable, but also fashionable.

If everything in Russian fashion industry will proceed as today, without any major events that would shake Russian economy, the next pivotal momentum could be obtaining official international recognition of Moscow/Russia as an international fashion capital; not just as a fashion hub [23]. Firstly, this is already evident in the growth of domestic brands in Russian fashion market [24]. Secondly, most evidently, Moscow Fashion Week (MFW) has grown from being a local event into one of the significant government-backed events showcasing Russia’s evolution in fashion [25]. MFW’s true recognition and popularity came mainly after sanctions were enforced by the Collective West in early 2022, which boosted the sense of patriotism in Russian consumers [21]. Besides MFW, there are also other international events held in Moscow/Russia in fashion industry such as BRICS+ Fashion. Thus, it is already possible to state that Moscow/Russia has already become a notable center for both Russian designers and a new generation of street style, with organizations actively promoting their own fashion both domestically and internationally.

However, in order to reach the ‘international fashion capital’-status there is still plenty of room for Russian fashion to develop and grow as Lina Dembikova (Russian celebrity stylist, creative director, influencer and a tv-host, founder of AVA School in Moscow) has mentioned not once on her personal telegram channel [26]. Personally, on consumer level, this can be seen in the garment material compositions. Petroleum based/artificial materials (most of the time polyester) are still used/present in making clothing, but has become less major component and more natural/seminatural materials have replaced petroleum based/artificial materials in clothing making. However, in many Russian brands already you can find clothing made of 100% natural fabrics; you just have to do a little search for them. As a result, we see the tendency of Russian consumers when they know that the garment is ‘Made in Russia’ it has positive influence on the purchase, as consumers are of the opinion that Russian brands have become of higher-quality [22]. Furthermore, Daniil Antsiferov (creator and designer in brands Les Archives and Daniil Antsiferov) has also noted that Russian fashion industry is in need of reviving its light sector, which was heavily damaged after the collapse of the USSR [27, 7]. Thus, it is possible to state that Russian fashion industry is in rapid developmental and growth phase, yet there are areas that need attention in order to push to the next level.


(More on the second momentum in modern Russian fashion history, please see article “Post-2022 Sanction Era – Revival of Russian Fashion Industry”)



REFERENCES

[1] Deutscher, Isaac (1961) “Stalin: A Political Biography”, Oxford University Press, 2^nd edition (pp. 7-9)

[2] Lowe, Norman (2005) “Mastering Modern World History”, Palgrave Macmillan, 4^th edition (pp. 356-357, 361, 364-366)

[3] UNIDO and UNCTAD (2011) “Economic Development in Africa Report 2011: Fostering Indusrial Development in Africa in the New Global Environment” (p. 34) https://unctad.org/system/files/official-document/aldcafrica2011_en.pdf

[4] tutor2u (2024) “Differences between free-market, mixed and centrally-planned economic systems” https://www.tutor2u.net/economics/reference/differences-between-free-market-mixed-and-centrally-planned-economic-systems#:~:text=Lack%20of%20efficiency%20due%20to,freedoms%20and%20choices%20are%20restricted

[5] Henry, Laura A. (2017) ”Book reviews – Vihavainen Timo, Bogdanova, Elena, eds. (2015) ”Communism and Consumerism: The Soviet Alternative tothe Affluent Society.” https://www.soclabo.org/index.php/laboratorium/article/view/687/1789#:~:text=This%20goal%20was%20unachievable.,%2C%20and%20What%20Comes%20Next (p. 114)

[6] Henry, Laura A. (2017) ”Book reviews – Vihavainen Timo, Bogdanova, Elena, eds. (2015) ”Communism and Consumerism: The Soviet Alternative tothe Affluent Society.” https://www.soclabo.org/index.php/laboratorium/article/view/687/1789#:~:text=This%20goal%20was%20unachievable.,%2C%20and%20What%20Comes%20Next (p. 113)

[7] Московская городская Дума (2025) “Московская неделя моды: у отечественных производителей одежды и обуви появились уникальные возможности”. (Transl. Moscow City Duma (2025) "Moscow Fashion Week: Unique Opportunities for Domestic Clothing and Footwear Manufacturers") https://duma.mos.ru/ru/0/news/novosti/moskovskaya-nedelya-modyi-u-otechestvennyih-proizvoditeley-odejdyi-i-obuvi-poyavilis-unikalnyie-vozmojnosti#:~:text=%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE...-,%D0%9C%D0%BE%D1%81%D0%BA%D0%BE%D0%B2%D1%81%D0%BA%D0%B0%D1%8F%20%D0%BD%D0%B5%D0%B4%D0%B5%D0%BB%D1%8F%20%D0%BC%D0%BE%D0%B4%D1%8B%3A%20%D1%83%20%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE%D0%B4%D0%B8%D1%82%D0%B5%D0%BB%D0%B5%D0%B9%20%D0%BE%D0%B4%D0%B5%D0%B6%D0%B4%D1%8B%20%D0%B8%20%D0%BE%D0%B1%D1%83%D0%B2%D0%B8%20%D0%BF%D0%BE%D1%8F%D0%B2%D0%B8%D0%BB%D0%B8%D1%81%D1%8C,%D0%BD%D0%B0%20%D1%83%D1%87%D0%B0%D1%81%D1%82%D0%B8%D0%B5%20%D0%B8%D0%B7%2079%20%D0%B3%D0%BE%D1%80%D0%BE%D0%B4%D0%BE%D0%B2

[8] Henry, Laura A. (2017) ”Book reviews – Vihavainen Timo, Bogdanova, Elena, eds. (2015) ”Communism and Consumerism: The Soviet Alternative tothe Affluent Society.” https://www.soclabo.org/index.php/laboratorium/article/view/687/1789#:~:text=This%20goal%20was%20unachievable.,%2C%20and%20What%20Comes%20Next (p. 115)

[9] Glanville, Alan and Glanville, Jacob (2011) “Economics from a Global Perspective”, 3^rd edition (pp. 7)

[10] Lowe, Norman (2005) “Mastering Modern World History”, Palgrave Macmillan, 4^th edition (pp. 339, 343-344, 384)

[11] Heades, Rachael reviewed by Roberts, Pamela in PRIORY (2026) “Addicted to spending money: understanding compulsive shopping” https://www.priorygroup.com/blog/compulsive-shopping-and-spending-a-sign-of-shopping-addiction#:~:text=When%20we%20make%20a%20purchase,control%20and%20practical%20financial%20considerations

[12] Kevins, Grant in Scrappy (2024) “The Evolution of Logomania in Streetwear: What to Expect in 2024” https://scrappyapparel.com/blog/logomania-in-streetwear/#:~:text=Logomania%20is%20exactly%20what%20it,known%20where%20their%20loyalty%20lies

[13] Premiyak, Liza in New East Digital Archive (2020) “Ripoff fashion ruled Eastern Europe’s label-hungry 90s. Why are designers celebrating it now?” https://www.new-east-archive.org/features/show/11671/knock-off-fashion-eastern-europe-national-identity#:~:text=Anastasiia%20Fedorova%20is%20the%20Russia,a%20certain%20world%20or%20community

[14] Lowe, Norman (2005) “Mastering Modern World History”, Palgrave Macmillan, 4^th edition (p. 384)

[15] Lowe, Norman (2005) “Mastering Modern World History”, Palgrave Macmillan, 4^th edition (p. 402)

[16] Julie Tong in Yahoo!life (2018) “Is Moscow the world's next fashion capital?” https://www.yahoo.com/lifestyle/moscow-worlds-next-fashion-capital-223522285.html?guccounter=1

[17] РБК Стиль (RBK Style) (2025) “Дизайнер с хладнокровием врача: 25 лет Алены Ахмадуллиной в моде” (Transl. RBT Style (2025) “A designer with the composure of a doctor: Alena Akhmadullina's 25 years in fashion”) https://style.rbc.ru/people/690359ca9a7947fc2f029014

[18] Council of the European Union (2025) “Russia’s war of aggression against Ukraine: Council extends economic sanctions for a further 6 months” https://www.consilium.europa.eu/en/press/press-releases/2025/12/22/russia-s-war-of-aggression-against-ukraine-council-extends-economic-sanctions-for-a-further-6-months/

[19] Economic and Social Research Council by Erika Szyszczak (2025) “Sanctions effectiveness: what lessons three years into the war on Ukraine?” https://www.economicsobservatory.com/sanctions-effectiveness-what-lessons-three-years-into-the-war-on-ukraine

[20] Fashion Factory School (@FashionFactorySchool) in YouTube (2025) “Khokhloma vs. Haute Couture: How to Work with Cultural Code | Igor Andreev” https://youtube.com/watch?v=9LrK7uxbsfQ&si=IWdcoPZsJBRCwZOg

[21] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p.578)

[22] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p.581)

[23] TeKuv, Ulrich in AFRICA24 (2025) “From Africa to Moscow: The Russian Capital Emerged as a New Global Fashion Hub” https://africa24tv.com/from-africa-to-moscow-the-russian-capital-emerged-as-a-new-global-fashion-hub#:~:text=From%20Africa%20to%20Moscow:%20The,Global%20Fashion%20Hub%20%7C%20Africa24%20TV

[24] Nikoliers (2025) “С начала 2025 г. на российский рынок вышло 37 новых брендов”. (Transl. Nikoliers (2025) “Since the beginning of 2025, 37 new brands have entered the Russian market”) https://nikoliers.ru/media/news/s-nachala-2025-g-na-rossiyskiy-rynok-vyshlo-37-novykh-brendov/

[25] mos.ru (2025) “Sergei Sobyanin: Moscow’s creative potential is being recognized abroad” https://www.mos.ru/en/mayor/themes/13098050/#:~:text=One%20of%20the%20biggest%20domestic,key%20areas%20of%20this%20sector

[26] LINADEMBIKOVA (Lina_Dembikova_official) in Telegram https://t.me/linadembikova

[27] Мадонна Мур (@MadonnaMur) in YouTube (2024) “Дизайнер Даниил Анциферов: как делать успешный бренд в России” (Transl. Madonna Mur (@MadonnaMur) in YouTube (2024) “Designer Daniil Antsiferov: How to Build a Successful Brand in Russia”) https://youtube.com/watch?v=d_gCq8z6law&si=z8FFlMhCNfrl7enq

The ‘rough’ exit by the Western/foreign companies from Russia, after sanctions were enforced by the Collective West against Russia in response to the Russo-Ukrainian Conflict in early 2022, not only created space in Russian fashion industry but also spurred an interest and confidence in alternatives in Russian fashion market. This consequently led to the emergence of Russian/domestic brands in Russian fashion industry. As a result, import substitution became a strong tool in Russian fashion industry where Western/foreign brands were replaced by Russian/domestic brands. Furthermore, the anti-Russian atmosphere manifesting in today’s international politico-economic context has further deepened the sense of ‘patriotism’ in Russian consumer towards Russian/domestic brands. Igor Andreev (stylist, designer in Vereja brand) has also noted that some Russian/domestic brands work more and some in lesser extent with Russian ‘cultural heritage code’ or even reinterpret it in more modern way to suit contemporary consumers’ taste. This has given a momentum for Russian fashion identity to develop and to become popular amongst Russian consumers. However, all of this did not come without challenges.

As the Collective West enforced sanctions against Russia, as a response to the Russo-Ukrainian Conflict in early 2022, Russia, especially Moscow, became truly a style hotspot. Sanctions acted as catalyst for the development of an independent, more cost-effective and domestically oriented Russian fashion industry and business [1]. The development and growth of Russian fashion industry are the signs and proof of a progressive transformative trajectory that Russia is experiencing socio-economically today, as Stepan Orlov (Deputy Chairman of the Moscow City Duma, Head of the United Russia Party Faction in the Moscow City Duma, and Chairman of the Moscow City Duma Working Group on Creative Industries Development) has noted:

"Fashion has always served as a creative engine of innovation; it is thanks to it that humanity has made the journey from the needle and thread to the invention of the sewing machine, and then to the e-commerce boom. The fashion industry is clearly focused on progress and the future. It is one of the largest segments of the global economy, involving industry, creativity, technology, transportation and media.” [2]

Hereby, it is clear that fashion industry carries a colossal mechanism and contribution to country’s growth and development. In Moscow alone this sector employs over 40000 people, and in 2021, it generated 174 billion rubles in sales [2]. Similar to the post-1991 era after the collapse of the USSR, when Russia’s economy opened for foreign trade its consumerism of foreign goods skyrocketed, while in 2022 sanctions boosted domestic economy and business, – especially, through import substitution – which enhanced nationalization of Russian economy and patriotism towards Russian domestic brands. Today Russia/Moscow can proudly demonstrate confidence and sophisticated style, which reflects the country/city that has found its own voice in complex and intricate global fashion world. However, this did not come without challenges.

One of the sanction goals was to disrupt trade and cripple Russian economy by cutting it off to cause an isolation of Russia as a whole from the rest of the world [3, 4]. According to the Western thinking, it should have resulted in an immense socio-economic and political dissatisfaction and pressure inside Russia with the potential of political turmoil (revolution) inside the country, which would have suited Western political goal of overthrowing the President of Russia Vladimir Putin. As of today, Russia has become most sanctioned country in the world to be known [4]. As a result, regarding the fashion industry, many luxury and mass-market brands either voluntarily or by following sanction orders officially left and suspended their operation in Russia. Together with the departure of the Western fashion companies, came also some challenges. This period of time can be referred as the ‘moment of uncertainty’, which included shortage of high-quality materials and fittings, missing technologies from Europe, difficulties in logistics, exchange rate fluctuations, increased import complications [4].

This forced Russia to search for new and alternative suppliers and technologies elsewhere such as Turkey, China and Central Asia as well as focus on ‘reviving’ domestic production, import substitution, improve quality of clothing materials, develop internal digitalized/online retail platforms (e.g. Lamoda, Wildberries, Ozon, YandexMarket, etc.) and in-house digital infrastructure [6]. All above mentioned challenges (in previous paragraph) and search of alternatives (previously enlisted) have resulted in price risings in clothing in Russia. However, it is important to note that fashion brands have to be careful with pricing policy – they should not only raise their prices, but also not make them too low either. By raising prices brands risk with alienation of themselves from potential consumers, causing negative emotions and possibly even loose reputation for being ‘too’ expensive [7]. Conversely, reducing prices is also risky, this may cause lack of supply and excess demand for clothing [7]. Thus, Russian brands, existing in new socio-economic and political reality in post-2022, have to be very careful in strategizing their pricing policy, so that they would not experience major losses and/or potential bankruptcy. Some brands have tried to keep their prices down for the sake of their customers [7].

After three years of Russo-Ukrainian Conflict, many Western reports claim, as a result of sanctions, Russia has experienced significant economic setback where its GDP today is 10-12% below pre-conflict trends together with inflation, domestic interest rates running over 20%, loss of foreign exchange reserves, bankruptcies rising in domestic businesses and real estate, etc. making Russian economy look ‘increasingly weak’ [4]. On 8.12.2025, Russian Prime Minister Mikhail Mishustin, at a meeting of the Council for Strategic Development and National Projects, announced, despite of sanctions, past three years Russia's GDP has grown by almost 10% [5]. Considering all the events in post-2022, while being and living in Russia of times of sanctions, personally did not feel Russian economy becoming weak at any point of time. Instead, even stronger through becoming independent. There was definitely a ‘moment of uncertainty’ in Russian society at the beginning of 2022 when sanctions were just being enforced by the Collective West unilaterally against Russia.

This ‘uncertainty moment’ is linked to when Russian economy, businesses and politics were trying to figure out their new development and growth trajectories in early 2022, which they were able to do very quickly and well by readjusting and adapting to new realities. Simply stated, Russia today is doing way better than during prior-sanction period. Prior-2022 Russian economy was dependent on Western foreign investment. While today, after Western companies left Russian market, Russia was able fully ‘to take back’ its economy and business spheres under its control; to the point where Russia can freely setup rules on how business is conducted within its own country – not dictated or influenced or pleasing foreigners no more. In other words, if ‘you want to do business in Russia, please respect and confirm with domestic rules’. This has elevated Russia’s importance and status not only within its own country but globally. I.e. restoring its own dignity both internally and internationally.

As a result, the unilateral sanctions have acted as ‘artificial iron wall’ between Russian and Western economy and business spheres. Resulting in West ‘shooting its own foot’ and losing its last ‘manipulative’ control over Russia through foreign investment, which it had before. P.s. Russia is a vast country with geography, history and mineral/energy/other resources – it is just matter of time and balancing things out Russia could and has the potential of become self-sustaining economy; this is reflected in the Russian fashion industry’s development today.

This mass exodus of Western luxury (Loui Vuitton, Hermès, Chanel and many others) and large chain mass-market brands (Inditex – Zara, Pull&Bear, Massimo Dutti, Bershka, Stradivarius, Oysho, PVH Corp. – Tommy Hilfiger, Calvin Klein, Warner’s, Uniqlo, H&M, Mango, Marks & Spencer and many others) has radically changed Russian fashion market by freeing up the niche and creating a vacuum that has stimulated growth of local designers and nationalization of fashion business industry [8]. This gave domestic clothing brands ‘carte blanche’ – where consumers’ interest and focus were and are entirely focused on local clothing and footwear brands, making domestic brands to gain relevance, ‘affordability’ in every sense and to improve their quality [8]. As per se, the departure of Western/foreign brands from Russian market has had a very positive impact on the development of Russian fashion industry.

The positive development of Russian brands can be seen in the dynamics of Russian brands entering and exiting the Russian fashion market. In 2023, 44 new Russian brands entered the fashion market and 5 exited, in 2024, 33 new entered the market and 3 exited, and in 2025, 30 entered the market and 25 exited [9]. The closure of brands occurred in projects that were launched in 2022-2023, as the first 2–3-year period is typically linked to startups where they try to fine-tune their business processes and to reach stable and operation breakeven [9]. Thus, unfortunately, those brands/projects that did face challenge in building a sustainable and stable business model, had to exit the fashion market and to close up [9]. Despite of exiting number being somewhat equal to the entering ones in 2025, it has to be noted that vacated space in ‘shopping malls’ is limited [10]. Not all can be represented in offline-store locations, thus is it logical that departing brands are replaced by new ones. Furthermore, brands are careful with opening new stores, as it entails financial investment [9]. Instead, brands prefer to update and upgrade stores they already have [9]. Some brands have been able to build stable business models making them permanent businesses and competitors in the fashion niche today. Moreover, instead of opening an offline-store, some brands have moved to online-retail platforms, e.g. Lamoda, Wildberries, Ozon, YandexMarket, etc., which also plays a big role in reviving Russian fashion industry and in creating competition in fashion market in general.

The ‘rough’ exit of Western/foreign companies has, consequently, spurred a ‘spirit of patriotism’ in Russian society/consumers [11]. Russian consumers have become interested and confident in alternatives offered in Russia, particularly in Russian/domestic brands that have replaced Western/foreign companies. As a result, as Daniil Antsiferov (creator and designer in brands Les Archives and Daniil Antsiferov) has noted, Russian consumer has become more educated on fashion and brands, making them more demanding and they see more aesthetics [12]. However, this was not the case for very long time, especially prior-2022. According to Lyudmila Stebenkova (Chair of the Moscow City Duma Committee on Interparliamentary Cooperation), Russians were convinced that only Western companies were capable of setting fashion trends and have quality garments [2]. In post-2022 this tendency was challenged and changed, making import substitution the most powerful move with most impact in post-2022 for both the West and Russia, as Western/foreign brands were replaced by Russian/domestic brands. As Elena Nikolaeva (Head of the permanent deputy association ‘My Moscow’ in the Moscow City Duma) notes:

“I am confident that import substitution in this sector will be successful, especially given the unique situation in which many fashion retailers have left Russia, while the demand for high-quality, fashionable clothing will always exist. This presents a rare opportunity for domestic fashion manufacturers not only to gain a foothold in the vacated market but also to make a strong statement.” [2]

Parallel can be drawn, the more the international political arena became and becomes anti-Russian, the more Russian people become interested in their own domestic brands. This in turn manifested the feeling of patriotism in Russian consumers towards domestic brands within their own country, thus leaving behind the legacy/history of the Western companies in the past.

As a result, marketers have started to focus and to stress on ‘Made in Russia’ label [11]. Research by Fashion Consulting Group has shown that for over 50% of Russians, knowing that the product is made in Russia, positively influences their purchase [13]. Furthermore, 60% of Russians rate clothing and footwear from Russian brands as high-quality [13]. Thus, by taking all the events in post-2022 into consideration, wearing Russian clothing has become not only comfortable, but also fashionable. Personally, Russian clothing feels and looks different to the Western counterpart. Simply Russian clothing is ‘somewhat different’ aesthetically – it could be described, as Russians have a saying, “Russians have a broad soul” (in Russian “Широкая Русская душа”) is being reflected in Russian clothing and brands; you just see, feel and sense it. Igor Andreev (stylist, designer in Vereja brand) terms it ‘Russian identity’ being translated into Russian fashion [14].

However, there are still challenges pertaining in Russian fashion industry, such as ‘revival’ of light domestic industry. The revival would boost Russian fashion industry and its economy even further, e.g. create jobs, develop light industry sector and create specialists in light sector. As Elena Yanchuk (member of the Moscow City Duma Committee on Science and Industry, Communist Party of the Russian Federation fraction) has noted:

“Unfortunately, most of these materials are currently imported from both near and far abroad. There's almost no production left in Russia; many factories have closed, and there are no specialists. Large-scale support for the light industry is needed, along with the creation of state-owned enterprises, including in Moscow, to produce various fabrics." [2]

The lack of light sector is heavily linked to the collapse of the USSR in 1991, after which there was a serious decline and closure of manufacturing industries mainly due to the disintegration of centralized planning, disruption of extensive inter-republic supply chain and chaotic privatization process [15]. Thus, the current stage of Russian light industry, as Daniil Antsiferov describes it, is at its stage of “being reborn – being in its embryonic stage” [12]. Meaning, Russian fashion industry is only at its very early stage of fashion journey and its development of becoming independent and self-sustaining, like Europe did back in Coco Chanel, Christobal Balenciaga, Christian Dior, Yve Saint Laurent, etc. times. This can be seen as how “Russia, at its beginning of the fashion journey, is [starting to] gain international recognition as a new global fashion hub” [16].

Thus, the new post-2022 reality has allowed Russian fashion industry to initiate the process of ‘revival and rebirth’ by taking a new stance and making a statement in the fashion world as a whole. This can be witnessed in organization of international events in Moscow/Russia, e.g. biannual Moscow Fashion Week (in March and September), BRICS+ fashion summit. These events have raised interest and invited people/businesses to arrive to Moscow/Russia to participate in them and to do business [17]. As a result, “in the last five years, the total turnover of the capital’s fashion industry has grown by 50% and exceeded 255 billion rubles by the end of 2024” [18]. Maybe slowly but surely, Moscow/Russia has become a new global fashion hub and in few years’ time can become one of the traditional fashion capital cities as we know of today like Milan, Paris, New York and London.

I love Moscow more and more. It’s changing, it’s freer, it’s more open now for different opportunities.” – Artem Shumov (Founder and Creative Director of menswear brand Artem Shumov) [19]



REFERENCES

[1] Yakov and Partners (2023) “The Future of the Fashion Market in Russia: Belt-Tightening or Fashion without Borders?” https://st.simpledesign.ltd/2AFfEz

[2] Московская городская Дума (2025) “Московская неделя моды: у отечественных производителей одежды и обуви появились уникальные возможности”. (Transl. Moscow City Duma (2025) “Moscow Fashion Week: Unique Opportunities for Domestic Clothing and Footwear Manufacturers”) https://duma.mos.ru/ru/0/news/novosti/moskovskaya-nedelya-modyi-u-otechestvennyih-proizvoditeley-odejdyi-i-obuvi-poyavilis-unikalnyie-vozmojnosti#:~:text=%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE...-,%D0%9C%D0%BE%D1%81%D0%BA%D0%BE%D0%B2%D1%81%D0%BA%D0%B0%D1%8F%20%D0%BD%D0%B5%D0%B4%D0%B5%D0%BB%D1%8F%20%D0%BC%D0%BE%D0%B4%D1%8B%3A%20%D1%83%20%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE%D0%B4%D0%B8%D1%82%D0%B5%D0%BB%D0%B5%D0%B9%20%D0%BE%D0%B4%D0%B5%D0%B6%D0%B4%D1%8B%20%D0%B8%20%D0%BE%D0%B1%D1%83%D0%B2%D0%B8%20%D0%BF%D0%BE%D1%8F%D0%B2%D0%B8%D0%BB%D0%B8%D1%81%D1%8C,%D0%BD%D0%B0%20%D1%83%D1%87%D0%B0%D1%81%D1%82%D0%B8%D0%B5%20%D0%B8%D0%B7%2079%20%D0%B3%D0%BE%D1%80%D0%BE%D0%B4%D0%BE%D0%B2

[3] Council of the European Union (2025) “Russia’s war of aggression against Ukraine: Council extends economic sanctions for a further 6 months” https://www.consilium.europa.eu/en/press/press-releases/2025/12/22/russia-s-war-of-aggression-against-ukraine-council-extends-economic-sanctions-for-a-further-6-months/

[4] Economic and Social Research Council by Erika Szyszczak (2025) “Sanctions effectiveness: what lessons three years into the war on Ukraine?” https://www.economicsobservatory.com/sanctions-effectiveness-what-lessons-three-years-into-the-war-on-ukraine

[5] @Финансы (2025) “Мишустин: за три последних года рост ВВП РФ составил почти 10%, несмотря на санкции” (Transl. @Finance (2025) “Mishustin: Over the past three years, Russia's GDP growth has amounted to almost 10%, despite sanctions”) https://finance.mail.ru/article/mishustin-za-tri-poslednih-goda-rost-vvp-rf-sostavil-pochti-10-nesmotrya-na-sankcii-69016930/

[6] Forbes (2022) “Вместо Zara и H&M: как санкции влияют на российские модные бренды” (Transl. Forbes (2022) “Instead of Zara and H&M: How Sanctions Affect Russian Fashion Brands”) https://www.forbes.ru/forbeslife/460287-vmesto-zara-i-h-and-m-kak-sankcii-vliaut-na-rossijskie-modnye-brendy

[7] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p. 579)

[8] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p. 577)

[9] Nikoliers (2025) “С начала 2025 г. на российский рынок вышло 37 новых брендов”. (Transl. Nikoliers (2025) “Since the beginning of 2025, 37 new brands have entered the Russian market”) https://nikoliers.ru/media/news/s-nachala-2025-g-na-rossiyskiy-rynok-vyshlo-37-novykh-brendov/

[10] Tass (2025) “Foreign brands vacate 81% more retail space in Russia in 2025 than they occupied” https://tass.com/economy/2064865

[11] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p.578)

[12] Мадонна Мур (@MadonnaMur) in YouTube (2024) “Дизайнер Даниил Анциферов: как делать успешный бренд в России” (Transl. Madonna Mur (@MadonnaMur) in YouTube (2024) “Designer Daniil Antsiferov: How to Build a Successful Brand in Russia”) https://youtube.com/watch?v=d_gCq8z6law&si=z8FFlMhCNfrl7enq

[13] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p.581)

[14] Fashion Factory School (@FashionFactorySchool) in YouTube (2025) “Khokhloma vs. Haute Couture: How to Work with Cultural Code | Igor Andreev” https://youtube.com/watch?v=9LrK7uxbsfQ&si=IWdcoPZsJBRCwZOg

[15] Johnston, Matthew; Boyle , Michael J; Munichiello, Katrina in Investopedia (2025) “Economic Collapse of the USSR: Key Events and Factors Behind it” https://www.investopedia.com/articles/investing/021716/why-ussr-collapsed-economically.asp#:~:text=The%20collapse%20of%20the%20USSR,into%2015%20separate%20independent%20states

[16] TeKuv, Ulrich in AFRICA24 (2025) “From Africa to Moscow: The Russian Capital Emerged as a New Global Fashion Hub” https://africa24tv.com/from-africa-to-moscow-the-russian-capital-emerged-as-a-new-global-fashion-hub#:~:text=From%20Africa%20to%20Moscow:%20The,Global%20Fashion%20Hub%20%7C%20Africa24%20TV

[17] mos.ru (2025) “Sergei Sobyanin: Moscow’s creative potential is being recognized abroad” https://www.mos.ru/en/mayor/themes/13098050/#:~:text=One%20of%20the%20biggest%20domestic,key%20areas%20of%20this%20sector

[18] mos.ru (2025) “The turnover of Moscow’s fashion industry has increased by 50 percent in five years” https://www.mos.ru/en/news/item/159052073/#:~:text=%D0%B2%2007:12-,The%20turnover%20of%20Moscow's%20fashion%20industry%20has%20increased%20by%2050,and%20major%20fashion%2Drelated%20events

[19] Julie Tong in Yahoo!life (2018) “Is Moscow the world's next fashion capital?” https://www.yahoo.com/lifestyle/moscow-worlds-next-fashion-capital-223522285.html?guccounter=1

We are used to hear and to think about traditional fashion capitals and the fashion weeks organized in them like Paris, Milan, London and New York. However, today this dynamic is changing. New fashion capitals are emerging and they are obtaining both the international recognition and the title of a fashion capital. One of them is the Moscow Fashion Week organized in Moscow (Russia) biannually in March and in September. The history of the Moscow Fashion Week has not been a straightforward regarding its development and growth starting from Soviet times till today. Instead, it has faced some ‘bumpy-ride’ along the way – from centrally planned fashion in the USSR to several fashion events being held almost simultaneously starting off in 90s causing confusion to 2022 sanctions –, in order to become a venue as we know it of today.

In the 1920s, a French historian Georges Lefebvre visited Russia and in his memoirs regarding ordinary Soviet citizens he noted:

"Around me, a crowd of tired-looking people in similar, worn and identical clothes swarms. There are women and men, young and old. All classes have disappeared. At least in terms of their clothing." [1]

During the Soviet era there were no ‘Fashion Weeks’ as we know them today. However, this started to change in June 12^th-16^th 1959, when the first fashion show in the USSR history took place in Moscow, where twelve French models showcased creative director Ivy Saint Laurent Christian’s Dior “New Look”-collections for the party elite and beyond [2]. This show became a political statement in the USSR fashion history, as this show signified that the country has finally commenced to open up to the global fashion world [2]. However, only by the end of the 1950s – after Stalin’s death and followed by the Thaw policy – fashion shows became officially permitted in the country [2]. All collections prior to this point were assessed by the Artist Council [2].

In the 1960s, despite of Dior’s show in 1959, Soviet women still had a very few options to look fashionable and stylish [3, 4]. The Soviet light industry manufactured clothes primarily for practical purposes with the waste-free focus, which made the clothes to be produced in large quantities, uniformly and tasteless [3, 4]. Furthermore, fashion itself – that would include good and stylish clothing – was regarded as bourgeois and, thus, was looked upon by the Soviet ideology [3]. As a result, fashion as such in the USSR remained distant from the people, though catwalks were graced by models wearing designed garment pieces [3].

These designed garment pieces never reached the public, as these garments would never enter the production phase [3, 4]. Instead, catwalk garments were heavily criticized from the ideological point of view as well as there were limitations in the Soviet economy and in the capabilities of sewing factories [3]. At the end, only a ‘shadow’ of the original garment model was left, as during the approval phase all numerous details were removed in order to simplify production to bear minimum [3, 4]. The Soviet clothing had to reflect the ‘socialist fashion’ – moderation, modesty, adherence to classical canons of beauty, practicality, democracy, mass appeal, and accessibility [3, 4]. In other words, any outstanding feature and/or detail was removed/excluded. Hereby, despite of the fashion shows, the garment production was focused on practicality, which made this clothing at a time more of the ‘Ready-to-Wear’ (Pret-a-Porte) type.

As a result, designers were in constant conflict with the planned nature of the Soviet economy, as they were simultaneously forced to balance creativity with Soviet ideological censorship requirements [3]. On the one hand, designers in Soviet fashion had to keep pace with global trends, while on the other hand, they were forced to remain within the Soviet realities, ideology and capabilities of the light industry [3]. However, the collections of the Soviet fashion house were shown abroad in their original form, without any adjustments for mass production [3]. Thus, in the 1960s, Soviet fashion had already caused a real sensation in the West, as the Fashion House collections were created by talented artists, but, unfortunately, no one knew their names and the label on the garments bore only the fashion house – no designer name; as the collections were seen as the end product of collective creativity [3]. Only late 1980s would designer’s name label appear on the garments [3].

During the Soviet era, by the end of the 1940s till 1960s, there was a period of ‘fashion protest’ movement by young adults called ‘Stilyagi’ (in Russian ‘cтиляги’) [3]. ‘Stilyagi’ movement distinguished itself from the mass with its striking clothing, which was a declaration of “Away with the average, away with modesty, simplicity and a sense of proportion” [3]. In this style-movement the individualism clashed with the Soviet state's ideological perception of fashion and its functionality. In other words, ‘stilyagi’ challenged the Soviet state and its ideology of fashion, which did leave its impact in Russian fashion history and its development.

However, the real breakthrough in Russian fashion industry came only with the collapse of the USSR and with the change of the political system from socialism to capitalism in 1991. This allowed the country to open up and to be absorbed into the process of globalization. This drastically changed the economic sphere by encouraging privatization within business sphere and free foreign trade, which became possible between Russian and other countries allowing foreign investment (capital) to flow into new country, Russia. However, in a long-run, foreign investment would eventually have a double ‘sword effect’ for Russia.

On the one hand, the capital flow through foreign investment into Russia would boost and encourage not only domestic economy but also business development. On the other hand, foreign investment resulted Russia in becoming dependent on Western foreign investment. Foreign investment entails “when an individual, company or government from one country invests capital into assets, businesses or projects into another country, involving cross-border capital flow to gain ownership or influence, to access new markets, resources or growth opportunities” [5]. This, to a certain degree, made Russia to be influenced by foreign investors. This interventionist method of foreign investment was witnessed with the organization of fashion week in Moscow in post-1991 era, as the name of the venue changed periodically.

It is also very important to note that from the very beginning of the Moscow Fashion Week, Moscow hosted not only several fashion weeks and independent fashion events in parallel, but it also seemed like that these fashion-venues were taking place in different time zones and spatial dimensions making no one particularly interested in this discrepancy [6, 7]. This did not only create confusion surrounding the names of the events and organizers, but also made it particularly unpopular in the media creating negative affect on designers, editors and buyers as they turned away from the fashion week as a result [6, 8]. It seemed like as if these venues were competing between each other and, maybe, to some degree they were; considering there were some very influential foreign investors involved like Mercede-Benz and Volvo. However, this did not mean that the venue ceased to exist over time, on the contrary even. In early 2022 the venue became a prominent event in Moscow/Russia gathering domestic and international attention; and this event keeps growing today gaining more international attention and significance.

Year 1994 can be considered to be the birthday of the Russian fashion industry and the very first ‘Moscow Fashion Week’, which was named at a time ‘Haute Couture Week’ (in Russian ‘Неделя Высокой моды’) [9, 10]. During the very first decade the fashion week, as its name indicates, was held under the auspice of haute couture featuring high-fashion collections from both Russian and global houses, and was organized by the Association of High Fashion and Prêt-à-Porter with the support of the Moscow Government [7, 10, 11]. Back in the 1990s, Alexander Shumsky's Artefact agency also helped to organize Fashion Week at Gostiny Dvor [8]. During the first years of the ‘Haute Couture Week’ the designers and the venue locations constantly changed from the Rossiya Concert Hall, to the Central House of Artists, to international trade centers [7]. Eventually, the organizers settled down with two landmark venue locations in the capital city of Moscow – the Gostiny Dvor and the Manege Central Exhibition Hall [7].

The goal of the fashion week back then and today remains to foster promotion and development of the Russian fashion industry by presenting prominent domestic talents, designers and brands to the world of fashion in Russia and abroad [7, 10, 12, 13]. The Russian Fashion Council also aimed to make Mocow/Russia a fashion capital, rather than shopping capital [12]. Thus, it is possible to state that the venue at the beginning had a local event nature, but this changed in 2000s, once foreign investors began to sponsor the venue and the name of the venue started to change accordingly.

In 1999, Mercedes-Benz Group AG became the organizer of the ‘Fashion Week’ [14].

Another breakthrough came in early 2000s when Vladimir Putin became President of Russia, who brought law and order to the country after the collapse of the USSR in 1991 [12, 15, 16]. This allowed the country to stabilize and become safer to conduct business both for the domestic and foreign businesses by inviting foreign investors into Russia. Consequently, in early 2000s, Russian fashion industry started to emerge, as some designers commenced their first journey steps then [12]; similar to European great fashion houses back in Coco Chanel, Christobal Balenciaga, Christian Dior, Yve Saint Laurent, etc. years [12, 16]. Once foreign investors started to sponsor the ‘Fashion Week’ venue it gave the event an international significance, which grew even more as the venue’s name changed to assimilate with the organizer’s names such as Mercedes-Benz and Volvo. This followingly gave the venue even more of international recognition and importance.

In 2002, Alexander Shumsky founds the ‘Russian Fashion Week’ (in Russian ‘Российская неделя моды’) [8].

In 2003, the ‘Haute Couture Week’ changed its name into the ‘Fashion Week in Moscow’ (in Russian ‘Неделей моды в Москве’) [8]. Furthermore, the format of the venue also changed. The venue started to hold the fashion week twice a year at the end of March (fall-winter) and the end of October (spring-summer), and included ‘Ready-to-Wear’ (Prêt-à-Porter) and ‘Luxury Ready-to-Wear’ [8, 9, 10, 17].

* Here it is important to notice the linguistic aspect of translating the venue name from Russian into English. Often, we see translation of the ‘Неделей моды в Москве’ as ‘Moscow Fashion Week’. It has to be noted that this might not quite be correctly translated. In Russian language the venue name contains a preposition ‘в Москве’ which literally translates as ‘in Moscow’. Hereby, the venue name in English is ‘Fashion Week in Moscow’, not ‘Moscow Fashion Week’. The ‘Moscow Fashion Week’ name came literally into use only in early 2022. As a result, the incorrect translation of the venue into English may often create some confusion in understanding the historical timeline of the venue’s development.

In 2009, the ‘Fashion Week in Moscow’ was renamed into ‘Volvo Fashion Week’, as the venue began collaborating with a major prestigious foreign car company, Volvo, which elevated the Fashion Weeks’ status and authority [8, 10]. The ‘Volvo Fashion Week’ was thought to rightfully belong to Valentin Yudashkin, who presented his collection in a vibrant and spectacular manner at the Gostiny Dvor [7].

In 2011, the ‘Russian Fashion Week’ acquired a major sponsor, Mercedes-Benz, and, thus, venue’s name changed into the ‘Mercedes-Benz Fashion Week Russia’ (MBFWR) [8, 9, 18]. It is considered that Vyacheslav Zaitsev was the founder of ‘Mercedes-Benz Fashion Week’, which made him to hold the right to open the fashion show at the Manege [7].

In 2013, the ‘Volvo Fashion Week’ was renamed back again into the ‘Fashion Week in Moscow’ (in Russian ‘Неделю моды в Москве’) [9, 17, 19].

In early 2022, due to the start of the Russo-Ukrainian conflict, the organizers of the ‘Mercedes-Benz Fashion Week Russia’ canceled the event, which was scheduled to take place from March 16th to 22nd in 2022 [18]. Soon after, Alexander Shumsky would officially rename the ‘Fashion Week in Moscow’ into the ‘Moscow Fashion Week’ (in Russian ‘Московская Неделя Моды’, which literally translates as the ‘Moscow Fashion Week’ as we know it today [8].

As of today, ‘Moscow Fashion Week’ (MFW) has grown from a local event and has become one of the significant government-backed events, showcasing Russia's evolution in fashion scene, emphasizing creativity, cultural roots and domestic industry growth [20]. In March 2025 MFW was attended by over 65000 people and showcased 186 brands from 27 regions of Russia, with the collection from 9 countries [20]. In autumn 2025, the Spring/Summer show was changed from October to 28^th August-2^nd September [21]. This was a strategic move on behalf of the event organizers, as this time of the year the weather holds ‘golden glow’ where the evenings are long, the air is soft and the light bears magical sunset effect [21]. Furthermore, the 5^th MFW was held at the Floating Bridge at Zaryadye – in the city center of Moscow next to Kremlin where the runway literally ‘floats’ in the midair [21]. This gave the fashion show to breath outdoors as the late autumn breeze revived the garment pieces alive on the catwalk [21].

This progress and development in Russian fashion industry in post-2022 would have not been possible without sanctions that the Collective West enforced in the early 2022 in response to the Russo-Ukrainian Conflict. As a result, the Russian fashion dynamic drastically changed once western fashion brands left Russia creating a vacuum in Russian fashion industry. This vacuum allowed Russian domestic brands to grow and develop by promoting local design, heritage, self-expression, aiming to create a unique Russian fashion identity. Together with this drastic change Russian consumer opinion on Russian fashion also changed drastically. Russians were for a long time convinced that only Western companies were capable of setting fashion trends and produce quality garments [22]. In post-2022 this tendency changed. Research by Fashion Consulting Group has shown that for over 50% of Russians, knowing that the product is made in Russia, positively influenced their purchase as well as 60% of Russians rate clothing and footwear from Russian brands as high-quality [23]. Hereby, wearing Russian clothing has not only become comfortable, but also fashionable.

Thus, by taking into account the history of the Moscow Fashion Week, post-2022 events and the challenges that came along the way, not only did these events draw Russia and its population even closer together, but also domestic Russian brands to their local Russian customers/clientele. Both political and economic situations in post-2022 reality has created even stronger sense of unity and bonding between the country, its people, its vast culture and rich history. This sense of unity and bonding has given a second life – a second chance – to events by giving them even deeper meaning and revival effect. As a result, this has given Moscow/Russia and ‘Moscow Fashion Week’ to make a statement in the fashion world by allowing Moscow/Russia to become a style hotspot. To outsiders of Moscow/Russia it might look like Russia’s fashion has just begun. In some respects, it has, on the other, not. For Russians fashion has always existed, but now Russia is able to bring it openly and freely into public. Besides ‘Moscow Fashion Week’ there are also other international events held in Russia in fashion industry such as BRICS+ Fashion. Hereby, it can be stated that Moscow/Russia has become a notable center for both Russian designers and a new generation of street style, with organizations actively promoting their own fashion both domestically and internationally.



REFERENCES

[1] Синичкин, Павел in Вокруг Света (2012) “Приговор советской власти: краткая история моды в СССР” (Transl. Sinichkin, Pavel in Around the World (2012) “The Sentence of Soviet Power: A Brief History of Fashion in the USSR”) https://www.vokrugsveta.ru/vs/article/7714/#:~:text=%D0%A4%D1%80%D0%B5%D0%BD%D1%87%2C%20%D0%B3%D0%B8%D0%BC%D0%BD%D0%B0%D1%81%D1%82%D0%B5%D1%80%D0%BA%D0%B0%2C%20%D1%88%D0%B8%D0%BD%D0%B5%D0%BB%D1%8C%2C%20%D0%BA%D0%BE%D0%B6%D0%B0%D0%BD%D1%8B%D0%B5,%D1%8F%D1%80%D0%BA%D0%B8%D0%B5%20%D0%B3%D0%B0%D0%BB%D1%81%D1%82%D1%83%D0%BA%D0%B8%2C%20%D1%88%D0%BB%D1%8F%D0%BF%D1%8B%20%D0%B8%20%D0%BA%D1%80%D1%83%D0%B6%D0%B5%D0%B2%D0%B0

[2] Designers From Russia (2023) “Как «оттаивал» Советский Союз: первый показ мод” (Transl. Designers From Russia (2023) “How the Soviet Union Thawed Out: The First Fashion Show”) https://designersfromrussia.ru/kak-ottaival-sovetskiy-souz-pervy-pokaz-mod/#:~:text=%D0%92%20%D0%B8%D1%8E%D0%BD%D0%B5%201959%20%D0%B3%D0%BE%D0%B4%D0%B0%20%D0%B2,%D1%87%D0%B5%D0%BB%D0%BE%D0%B2%D0%B5%D0%BA.&text=%D0%92%D0%BE%20%D0%BC%D0%BD%D0%BE%D0%B3%D0%BE%D0%BC%20%D1%8D%D1%82%D0%BE%D1%82%20%D0%BF%D0%BE%D0%BA%D0%B0%D0%B7%20Dior,%D0%A1%D0%BE%D0%B2%D0%B5%D1%82%D0%B0%20%D0%BD%D0%B0%20%D0%BF%D1%80%D0%B5%D0%B4%D0%BC%D0%B5%D1%82%20%D0%BF%D0%BE%D0%B4%D1%80%D0%B0%D0%B6%D0%B0%D0%BD%D0%B8%D1%8F%20%D0%97%D0%B0%D0%BF%D0%B0%D0%B4%D1%83

[3] Рублева, Татьяна in mir24 (2023) “Красота по-советски: от модных показов до конкурсов красоты” (Transl. Rubleva, Tatyana in mir24 (2023) “ Soviet Beauty: From Fashion Shows to Beauty Pageants”) https://mir24.tv/articles/16462660/krasota-po-sovetski-ot-modnyh-pokazov-do-konkursov-krasoty

[4] Fashion Factory School (@FashionFactorySchool) in YouTube (2026) “Почему в кризис мы меняем стиль? История модных революций” (Transl. Fashion Factory School (@FashionFactorySchool) in YouTube (2026) “Why do we change our style during a crisis? The history of fashion revolutions”) https://youtu.be/rvHcD-7zXyc?si=IDbssaWibJMCs4xs

[5] CFI Education Inc. (2026) “Foreign Investment” https://corporatefinanceinstitute.com/resources/economics/foreign-investment/

[6] HSE University (2026) “Российские недели моды 90-х и 00-х” (Transl. HSE University (2026) “Russian Fashion Weeks of the 90s and 00s”) https://designschool.am/project/893e8bff695349089800f6a3a8815f20#:~:text=%D0%92%20%D1%81%D0%B5%D1%80%D0%B5%D0%B4%D0%B8%D0%BD%D0%B5%20%D0%B4%D0%B5%D0%B2%D1%8F%D0%BD%D0%BE%D1%81%D1%82%D1%8B%D1%85%20%D0%B3%D0%BE%D0%B4%D0%BE%D0%B2%20%D0%B2,%D1%82%D0%B0%D0%BA%20%D0%B8%20%D1%83%20%D1%83%D1%87%D0%B0%D1%81%D1%82%D0%BD%D0%B8%D0%BA%D0%BE%D0%B2%20%D1%81%D0%BE%D0%B1%D1%8B%D1%82%D0%B8%D0%B9.

[7] Зыблая, Кристина in Cabinet de l’art (2018) “#История Недели Моды” (Transl. Ziblaya, Kristina in Cabinet de l’art (2018) “#History of Fashion Week”) https://cabinetdelart.com/moda/istoriya-nedeli-mody/#:~:text=Moscow%20Fashion%20Week,%D0%98%D0%B3%D0%BE%D1%80%D1%8C%20%D0%93%D1%83%D0%BB%D1%8F%D0%B5%D0%B2%20%D0%B8%20%D0%BC%D0%BD%D0%BE%D0%B3%D0%B8%D0%B5%20%D0%B4%D1%80%D1%83%D0%B3%D0%B8%D0%B5

[8] DESIGNERS from Russia (2025) “Краткая история российской недели моды: с 90-х до наших дней” (Transl. DESIGNERS from Russia (2025) “A Brief History of Russian Fashion Week: From the 1990s to the Present Day”) https://designersfromrussia.ru/kratkaya-istoriya-rossiiskoi-nedeli-mody-s-90-h-do-nashih dnei/#:~:text=%D0%A1%201999%20%D0%BF%D0%BE%202003%20%D0%B3%D0%BE%D0%B4%20%D0%B2%20%D0%BF%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9,%D1%81%D1%82%D0%B0%D0%BB%D0%B8%20%D0%B2%D1%80%D1%83%D1%87%D0%B0%D1%82%D1%8C%20%D0%BF%D1%80%D0%B5%D0%BC%D0%B8%D1%8E%20%E2%80%9C%D0%97%D0%BE%D0%BB%D0%BE%D1%82%D0%BE%D0%B9%20%D0%BC%D0%B0%D0%BD%D0%B5%D0%BA%D0%B5%D0%BD%E2%80%9D%2C%20%D0%BA%D0%BE%D1%82%D0%BE%D1%80%D0%B0%D1%8F%20%D0%B4%D0%B0%D0%B2%D0%B0%D0%BB%D0%B0

[9] Elena in BurdaStyle.ru (2014) “Сезон Высокой моды в Москве” (Transl. Elena in BurdaStyle.ru (2014) “Haute Couture Season in Moscow”) https://burdastyle.ru/stati/sezon-vysokoy-mody-v-moskve-/#:~:text=%D0%92%202009%20%D0%B3%D0%BE%D0%B4%D1%83%20%D0%BF%D1%80%D0%BE%D0%B5%D0%BA%D1%82%20%D0%BF%D0%BE%D0%BB%D1%83%D1%87%D0%B8%D0%BB%20%D0%BD%D0%B0%D0%B7%D0%B2%D0%B0%D0%BD%D0%B8%D0%B5%20Volvo,%D0%B1%D1%8B%D0%BB%20%D0%BF%D0%B5%D1%80%D0%B5%D0%B8%D0%BC%D0%B5%D0%BD%D0%BE%D0%B2%D0%B0%D0%BD%20%D0%B2%20%D0%9D%D0%B5%D0%B4%D0%B5%D0%BB%D1%8E%20%D0%BC%D0%BE%D0%B4%D1%8B%20%D0%B2%20%D0%9C%D0%BE%D1%81%D0%BA%D0%B2%D0%B5

[10] Newlooklab in LiveJournal (2012) “Volvo Fashion Week в Москве” https://newlooklab.livejournal.com/44896.html

[11] mos.ru (2015) “НЕДЕЛЯ МОДЫ В МОСКВЕ. СДЕЛАНО В РОССИИ” (Transl. mos.ru (2015) “ MOSCOW FASHION WEEK. MADE IN RUSSIA”) https://www.mos.ru/dtu/documents/arhiv-novostej/view/107765220/

[12] Julie Tong in Yahoo!life (2018) “Is Moscow the world's next fashion capital?” https://www.yahoo.com/lifestyle/moscow-worlds-next-fashion-capital-223522285.html?guccounter=1

[13] БЕЗ ВАСЬко НИКАК (2018) “Неделя моды в Москве — Moscow Fashion Week” (Transl. BEZ VASko NIKAK (2018) ”Fashion Week in Moscow – Moscow Fashion Week”) http://bezvaskonikak.ru/nedelya-mody-v-moskve-moscow-fashion-week/

[14] PROFASHION ЖУРНАЛ О МОДЕ ДЛЯ ПРОФЕССИОНАЛОВ (2026) “MERCEDES-BENZ FASHION WEEK” (Transl. PROFASHION Fashion Journal for Professionals (2026) “MERCEDES-BENZ FASHION WEEK”) https://profashion.ru/guide/mercedes-benz-fashion-week/

[15] Lowe, Norman (2005) “Mastering Modern World History”, Palgrave Macmillan, 4^th edition (p. 402)

[16] РБК Стиль (RBK Style) (2025) “Дизайнер с хладнокровием врача: 25 лет Алены Ахмадуллиной в моде” (Transl. RBK Style (2025) “A designer with the composure of a doctor: Alena Akhmadullina's 25 years in fashion”) https://style.rbc.ru/people/690359ca9a7947fc2f029014

[17] Альперина, Сусанна (2009) “Открылась Volvo-Неделя Моды в Москве” (Transl. Alperina, Susanna (2009) “Volvo Fashion Week Opens in Moscow”) https://rg.ru/2009/10/22/moda-site.html

[18] PROFASHION (2026) “Mercedes-Benz Fashion Week” https://profashion.ru/guide/mercedes-benz-fashion-week/

[19] Драйв (2009) “Мода становится модной: «Moscow Fashion Week» теперь называется «Volvo Fashion Week” (Transl. Draiv (2009) “Fashion is getting trendy: Moscow Fashion Week is now called Volvo Fashion Week” https://www.drive.ru/blogs/volvo/4efb334900f11713001e4660.html

[12/20] mos.ru (2025) “Sergei Sobyanin: Moscow’s creative potential is being recognized abroad”https://www.mos.ru/en/mayor/themes/13098050/#:~:text=One%20of%20the%20biggest%20domestic,key%20areas%20of%20this%20sector

[21] Butt, Nashmia Amir in Grazia Pakistan (2025) “When Fashion Meets City: Moscow Turns Itself Into the Runway” https://www.grazia.pk/when-fashion-meets-city-moscow-turns-itself-into-the-runway/

[22] Московская городская Дума (2025) “Московская неделя моды: у отечественных производителей одежды и обуви появились уникальные возможности”. (Transl. Moscow City Duma (2025) “Moscow Fashion Week: Unique Opportunities for Domestic Clothing and Footwear Manufacturers”) https://duma.mos.ru/ru/0/news/novosti/moskovskaya-nedelya-modyi-u-otechestvennyih-proizvoditeley-odejdyi-i-obuvi-poyavilis-unikalnyie-vozmojnosti#:~:text=%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE...-,%D0%9C%D0%BE%D1%81%D0%BA%D0%BE%D0%B2%D1%81%D0%BA%D0%B0%D1%8F%20%D0%BD%D0%B5%D0%B4%D0%B5%D0%BB%D1%8F%20%D0%BC%D0%BE%D0%B4%D1%8B%3A%20%D1%83%20%D0%BE%D1%82%D0%B5%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D1%85%20%D0%BF%D1%80%D0%BE%D0%B8%D0%B7%D0%B2%D0%BE%D0%B4%D0%B8%D1%82%D0%B5%D0%BB%D0%B5%D0%B9%20%D0%BE%D0%B4%D0%B5%D0%B6%D0%B4%D1%8B%20%D0%B8%20%D0%BE%D0%B1%D1%83%D0%B2%D0%B8%20%D0%BF%D0%BE%D1%8F%D0%B2%D0%B8%D0%BB%D0%B8%D1%81%D1%8C,%D0%BD%D0%B0%20%D1%83%D1%87%D0%B0%D1%81%D1%82%D0%B8%D0%B5%20%D0%B8%D0%B7%2079%20%D0%B3%D0%BE%D1%80%D0%BE%D0%B4%D0%BE%D0%B2

[23] Пономарева, Арина Андреевна; Пузанская, Анастасия Константиновна; Передерий, Мария Витальевна (2023) “Развитие индустрии моды в условиях санкционного режима” (Transl. Ponimayova, Arina Andreyevna; Puzanskaya, Anastasiya Konstantinovna; Perederiy, Mariya Vitalyevna) (2023) “Development of the fashion industry under sanctions”) https://elar.urfu.ru/bitstream/10995/121859/1/978-5-91256-577-9_2022_142.pdf (p.581)

Lately there has been a lot of feeds circulating on social media that consumers today do not just buy the product like before, instead, they buy into worlds, identities and belongings that brands are ‘cult branding’, and people want to be part of them [1].

Traditional marketing strategy focuses on pushing the actual product and focuses on the process of identifying, anticipating and satisfying customer needs profitably [2, 3].

While branding is the strategic process of creating a distinct identity, reputation and emotional connection for the product, service or company in the customer’s mind [4]. ‘Cult branding’ goes even further by picking an enemy, selling a lifestyle and an identity, selling a world that people want to live in, breaking rules on purpose, feeling distinctive and creative, building a community, becoming a status symbol, building legacy and mythology, identity first, and something people join [5]. In other words, ‘cult brands’ sell a purpose, something with higher meaning than ourselves, e.g. saving the planet [3]. By contributing to something good our brain rewards us with dopamine – feeling of satisfaction –, which allows people to hook up to the product, while sensing as being part of something bigger [3]. Thus, people end up choosing brands that reflect who they are or who they want to become and so the product from the specific brand becomes a symbol of who they are [1]. In some cases, cult-brands may become almost synonymous to religious following, e.g. Apple [6].

‘Cult brands’ and the worlds/identities/belongings they are branding for thrive on our human fears of being left out, feeling to appear uncultured, irrelevant, unimportant, excluded and becoming bad version of ourselves – people think they can buy themselves into popularity and acceptance [7]. Instead, we – consumers – should build our own worlds/identities/belongings that we want to be, live in and to be part of. Based on this premise we should choose only those products that truly fit our world/identity/belonging feeling that we honestly want to be and to become. In other words, we – consumers – should create our own self-brand – our own ‘bubble world’ –, and know what we exactly need and do not need, rather than buy into ready-made branding fantasy of idealized future that businesses feed us forcefully [8]. This way people will signal their ‘own brand’ that they themselves are standing for; their true self.

However, re-invention of our image does not come easy, it is time, patience and effort consuming. It is easier said than done. It is a strategy, which is carefully, constantly cultivated and maintained [9]. For example, Madonna is a master of art of personal re-branding – she creates collage consisting of photos, headlines, etc. to illustrate the feeling, the sense, the values she is looking for in her new personal image/self-brand [10].

We humans by nature are prone to some degree of ‘laziness’, always searching for shortcuts to the identity and life upgrade we want. It is easy and very tempting when someone else does all the work for us. Same logic applies here – brands do all the work for us by creating the ‘fantasy life/community’ that hits our ‘wish list’ and we want to be part of this ‘ready-made menu’, i.e. receive the magic pill (solution) to our ‘problem’. They create the world/identify/belonging we want to be part of and for consumer it is easier and effortless to buy a new product and to get shortcut access to this quick ‘fantasy life/community world’ we dream of, than actually fix our lives, go through identity transformation and to become a completely new person [11, 12]. In other words, there is a “huge number of people who perform confidence, but inside they do not even understand who they are without [cult brands]” [13].

Thus, once you buy the ‘cult’ product your brain releases dopamine and you get the feeling that elevates your status of importance and confidence. Unfortunately, this may only be short-term solution and effect. Our brain is wired to demand more of dopamine, as our brain will ‘crave’ more for this feeling of belonging to a bigger community, higher purpose and elevated status. In other words, ‘cult branding’ becomes a vicious cycle – world keeps evolving where new trends and brandings will appear and old ones will die off and we will keep chasing the new ones; instead of addressing the core issue in ourselves that is not an easy task, in order to become independent from any marketing/branding strategy and economic system.

However, soon any marketing and branding strategy of portraying world/identify/belonging might soon actually become short lived. There are people who are slowly getting tired from ‘everything’ and may choose non-traditional lifestyle. These people in social media are referred as Gleamers/Glimmers. In other words, this is an anti-consumerism movement also referred as ‘Enough’-movement [14]. This is a new generation or group of people, who are currently emerging, and they are terrifying corporations and business sphere in general. Gleamers have no set age – most important thing anyone can become a Gleamer. If this trend takes a hold, in just a couple of years we may see a calm-quiet life become the new luxury [15].

If Gen Z (Zoomers) still played by the rules – building careers, chasing status and living in megacities – the Gleamers have simply dropped out from traditional-mainstream lifestyle.

Gleamers are people identified as pragmatic optimists who reject traditional milestones, focusing instead on personal, daily joys ('minorstones') to combat burnout and 'The Great Exhaustion'. Gleamers are characterized as searching for small/micro-moments, safety, calm, balance, emotional well-being and product that offer care, joy and zen-state to the nervous system and life [16]. Gleamers represent a shift toward prioritizing emotional comfort and happiness over traditional high-pressure and societal success metrics, goals and achievements [16]. Gleamers/’Enough’-movement believes that we as a society simply overconsume stuff and that we are partly responsible for many of the social ills that plague our planet [14].

As a result, they are leaving offices, moving to rural areas, getting rid of unnecessary things and are living by the principle of less stress and more present; no car loans, no chasing success, no likes, no KPIs – just morning coffee, peace, tranquility and socializing with neighbors [15]. Gleamers are the first generation to consciously reduce consumption, and this poses a serious threat to banks, corporations and the entire business and economic sphere, which is built on endless shopping [15].

This shift poses a challenge to marketing/branding by questioning the mainstream lifestyle and societal norms that we are told and taught from childhood – to get a career, chase status and high-comfortable living standards, etc. To a certain degree this shift was expected to happen and is already taking place due to high volume of constant flow of events ranging from international to local news and overconsumption of stuff. Especially, considering, the last 6 or more years have not been easy or stable anywhere in the world – starting with the Covid-19 in December 2019, right after began the Russo-Ukrainian Conflict in 2022 together with the international economic sanctions that are still affecting our daily lives all around the world, followed by the Iran-Israel/USA war and new countries joining the NATO block.

The unstable and overflow of events have added tension to international relations between countries and at local level where ordinary people – the tax payers – are getting tired from all of this, as they are most affected by price growth; in some countries more exponentially than in other countries. People yearn for stable and, especially, calm times.

As people are left without options people start taking matters into their own hands and start taking action themselves by deciding how they see their lives and how they want to live. In this case, people are making the economic system to adapt to them; and not the way around – we see this happening with ‘cult branding’ strategy. Traditional marketing has evolved into ‘(cult) branding’ by becoming more aggressive and sneakier in its strategy to convince people to shop. If before people lived in abundance and could afford ‘anything and everything’ and marketing did not have to put too much effort into convincing people to purchase. Now people have become more selective in their purchases – besides Gleamer/’Enough’-movement, the global economic situation has become unstable, the means have become limited, thus priority has shifted on daily essentials than on luxury and entertainment.

Gleamers have no set age – most important thing anyone can become a Gleamer. If this trend takes a hold, in just a couple of years we may see a calm-quiet life become the new luxury [15].

If a Gleamer-movement will take a hold in the society it will mean that any forceful and aggressive marketing/branding strategy will no longer work. Gleamers will instantly sense this and withdraw from any unnecessary purchase by keeping distance from specific brands/businesses and, most importantly, will move to another brand/business in search for equal/alternative product they need. Thus, marketing/branding strategy will have to go back in time when ‘traditional marketing’ worked to generate sales – where the focus was the product itself. However, ‘traditional marketing’ will also require few tweaks in its strategy to adapt by becoming even simpler, transparent and not ‘pushy’, in order to generate sales. Gleamer will rationally evaluate every brand and product before shopping by asking a question whether the purchase of specific product will bring joy. Thus, the future of the marketing strategy will require simplicity and transparency on the product; what the product is, what the product does and, most importantly, what it is made of.

However, if the Gleamers-movement will grow and take a stronger hold in the society, i.e. become popular, brands/companies/economy may lobby against this as their business and revenue generation becomes under threat. In the long-run this will also not suit government’s agenda either, as they will also loose tax payers’ money. As a countermeasure, government may interfere by adjusting legislation to include conditions that Gleamers/’Enough’-movement people cannot escape either. This way government may correct the course of societal trends/developments. For example, we can already see this type of interference in EU – EU is considering to simplify food safety rules by allowing genetically modified food (NGT Category 1) to be produced without mandatory GMO labeling, which will render product visibility to consumers and reduce transparency; this way government ensures the sales will continue [17].



Bibliography

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[2] CIM (2023) “What is marketing?” https://www.cim.co.uk/content-insights/articles/what-is-marketing/

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[4] Chawla, Bhoom in Språk Design (2025) “What is Branding? Definition, Types & Examples” https://www.sprakdesign.com/what-is-branding-definition-types-examples/

[5] Yasmin – Brand Strategy & Design (@yasmin.theoryofkhaos) in Instagram (2026) “The difference between a normal brand and a cult brand…” https://www.instagram.com/reel/DXKYO23jWUt/?igsh=MWR5anRicm9wcXlrMg==

[6] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p.119), KoganPage, London, UK.

[7] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p.110,114, 117, 152), KoganPage, London, UK.

[8] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p. 152), KoganPage, London, UK.

[9] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p. 148), KoganPage, London, UK.

[10] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p. 167), KoganPage, London, UK.

[11] Yasmin – Brand Strategy & Design (@yasmin.theoryofkhaos) in Instagram (2026) “How to Build a Cult Brand (1/4)…” https://www.instagram.com/reel/DVZEg5ODeMl/?igsh=dHN0YmlrZ3ZhMjUw

[12] Yasmin – Brand Strategy & Design (@yasmin.theoryofkhaos) in Instagram (2026) “People aren’t buying your product because you’re selling them the wrong thing…” https://www.instagram.com/reel/DYWldmLNSwH/?igsh=Yjg0MHg0bDg4Nndu

[13] Olessya Avaz (@olessyaavaz) in Instagram (2026) “В fashion огромное количество людей выглядят уверенными в себе, но внутри не понимают, кто они без этой индустрии…” (transl. Olessya Avaz (@olessyaavaz) in Instagram (2026) “ In fashion, a huge number of people appear confident, but inside they don’t understand who they are without this industry…” https://www.instagram.com/reel/DYAdE45t5nTiQdBDSZCd9IR8MVCfTU4IgjhGkU0/?igsh=MXYyb3M4ZHl4aTh0YQ==

[14] Lindstrom, Martin (2012) “Brandwashed: Tricks companies use to manipulate our minds and persuade us to buy” (p. 1), KoganPage, London, UK.

[15] Евгений Титков. Закаливание. Баня. ЗОЖ. Anti Age (@ice_s_team) in Instagram (2026) “А честно – готовы стать глимером?...” (transl. Evgeniy Titkov. Zakalivaniye. Banya. ZOZH. Anti Age (@ice_s_team) in Instagram (2026) “Are you ready to become a Gleamer?...”) https://www.instagram.com/reel/DUpaBPxjIaW/?igsh=ZG1xMHJlZWJrMjRx

[16] Gallagher, Wesley in Bournewood Health Systems (2024) “What Glimmers Are and How Small Positive Moments Aid Mental Health Recovery” https://www.bournewood.com/resources/blog/what-are-glimmers/

[17] Achterberg, Franziska in Agricultural and Rural Convention (2025) “EU Deal on GMO Deregulation: Hiding GMO Food While Claiming Patent Rights” https://www.arc2020.eu/eu-deal-on-gmo-deregulation-hiding-gmo-food-while-claiming-patent-rights/



* Instagram (owned by Meta, recognized as an extremist organization) has been banned in Russia since March 2022. / Instagram (принадлежит Meta, признанной экстремистской организацией) запрещен в России с марта 2022 года.

Couple of years ago a bag itself was considered to be the complete element of an outfit as such. Today it is seen as a canvas – keychains, pendants and chains are expressive touches to the ‘canvas’ that transforms an ordinary accessory into an object of attention and personal piece of art [1].

In 2024, bag keychains trend hit its highest peak. This trend was named as the ‘Jane Birkin’-effect, after the famous French style icon who decorated her iconic Hermès bag with various attachments ranging from charms, stickers and laces [2, 3]. It seemed that this trend, starting as micro-trend, would be short lived, but in 2026 this trend is still continuing and evolving.

By now bag keychains have been trending for several seasons and it looks like this trend will remain among us for a while still, as one of the main accessories [2]. Reasons are obvious – in 2025, people have grown tired from formulaic clean girl – ‘old money’ – aesthetics, which imposed uniform standards and individuality was somewhat deprived [2]. ‘Clean girl’-aesthetics, or clean minimalist-aesthetics, during ‘uneasy/conflict times’ can be linked to the international turmoil events that have been taking place and are still continuing today – the Covid-19 starting in December 2019, the Russo-Ukrainian Conflict in 2022 followed together with the international economic sanctions and the Iran-Israel/USA War in 2025/26. These continuous international tensions have also had an effect on national-local economies, due to which people have become less prone to any extra spending and, instead, are ready to live more ‘conservative lifestyle’ – nothing too bold, expressive or expensive.

Very same pattern of events and trends can be observed in the past, but in fuller scale. First the Word War 1 (1914-1918) then the World War 2 (1939-1945) followed by the hippie movement (1960s-1970s), as a counter reaction to war period to manifest an inner liberalization, pacifism (‘make love, not war’) and environmentalism. After the Cold War (1947-1991) fashion started to reflect ‘fast fashion’, bold branding and electric mix of thrifted items and street style. This was also reflected in the 90’s through keychain trend that was defined by bold self-expression, DIY crafting and pop culture fandom, with items often cluttering backpacks rather than holding actual keys.

While today, people have already grown somewhat tired from continuous tensions in post-2020. Thus, bag keychain trend, which has continued till today since 2024, has played a meaningful psychological essence that goes much deeper. As a result, we see how people have started to reflect modern demand to manifest a desire for slight liberation and self-expression through small purchases, such as bag keychains, which add that delicate pinch of uniqueness and personality through our style and looks [2]. Bag keychains are small accessories that reveal our hidden secrets about our lives, such as hobbies, interests, preferences as well as mood; but at the same time are also the simplest, most effective and affordable during uneasy economic times when people’s spending parity is somewhat limited [2, 4].

However, the bag keychain trend is not ending here. In 2026, this trend took another transformative turn in its evolution by fusing together with another trend that has now been very actively circulating on social media feeds – the handmade bag keychains made from clay in home setup [5, 6, 7]. This new trend incorporates two new notions – 1) handmade, and 2) home setup. This effect could be described as ‘trend on top of another trend’, i.e. ‘double trend’, where old trend gets a new meaning through new trend. Even though handmade keychains have already existed, but now this trend has truly boomed. These two terms have to be elaborated, in order to understand their relevance in our modern-day context – in relation to our contemporary circumstances that we are currently living in and the possible transformation that the fashion/retail industry is going through. This new trend brings additional psychological meaning and depth to our modern consumption.

Before anything, handmade craftsmanship is an opposite of the Industrial Revolution.

The Industrial Revolution revolutionized mass production leading goods to be produced faster and cheaper [8]. Over time business also started to cut corners on their own products; meaning quality started to suffer. At the same time the mass production disconnected people from the craftmanship – stories, skills, traditions, beliefs, knowledge, cultural identities, maker’s hands, choices and memories behind the product we use every day [8, 9]. In other words, with the Industrial Revolution, the connection between the maker and the buyer broke down [8]. It created distance from the art of craftmanship, i.e. the creativity process.

Many handmade craftsmanship skills are passed down through generations, people to people – skills are learned slowly, through years of experience, observation, repetition, the small details, the techniques and the understanding of materials [8]. These skills are rarely written down in a manual or taught by machine [8]. In other words, handmade craftmanship gave products the personal signature, meaning and touch, while mass production stripped goods from it [8].

As a result, consumers grow distant from understanding how things are made, where they come from or what it meant to create them [8]. This has had a deep cultural effect to the point that people stopped caring how things are made, stopped valuing the skills and traditions behind things [8]. As a result, in modern world of ‘instant gratification’ we have lost an ability to form emotional connections with things we buy – things become temporary and are replaced before we have a chance to truly value them [9].

As a response to the long-lived mass production – fast fashion – era, today, there is a growing movement, a shift, back to handmade/craftmanship products. This reaction was built over the years of dissatisfaction with mass-produced sameness, environmental harm and the loss of human connection in things that people own [8]. In other words, global handicraft market is not only experiencing a cultural shift but also craftsmanship is challenging the mass production sphere [10]. This is already happening worldwide. In some places this boom is more evident than in others – in Russia this shift is happening as the fashion/retail industry is being somewhat forced to change due to political-economic circumstances in the country, while in other countries this is happening by peoples’ choice.

A prior-2022 sanction, Russian fashion/retail industry was dominated by western fast fashion and western luxury houses. Once economic sanctions were enforced against Russia – in response to the Russo-Ukrainian Conflict in 2022 – western fast fashion and luxury houses left Russian fashion/retail industry. This created vacant vacuum in Russian fashion/retail industry. Instead of Russian fast fashion taking over the vacant fashion/retail space, Russian brands entered the freed-up retail sphere by replacing western shops that left. During 2022-2025, Russian fashion industry experienced boom in fashion brands, which allowed Russian fashion industry to grow and develop in quality and creativity vise, and produce interesting garment pieces. In this boom fashion brands probably hoped that they could potentially in the future grow in their status vise and become luxury houses in the future, i.e. replace the lost in 2022 western luxury houses in Russia.

However, in 2026, the situation with Russian brands is drastically changing – fashion brands are closing their businesses entirely, reducing offline-store locations or changing from offline-store to online format of selling. Consequently, we see some shopping malls in Russia becoming empty; reminding apocalyptic scenarios from movies [11]. In other words, it may seem and feel that Russian fashion industry is facing ‘crisis’, but to be more particular it is undergoing structural transformation; and it is in its active phase currently. In reaction to brands leaving the fashion/retail industry and creating a vacant vacuum at fashion/retail sphere again, we see a handicraft boom on social media feeds – individuals are crafting beautiful handmade crochet garment pieces, bag keychains and other jewelry pieces from clay at home, etc. [12, 13, 14, 15, 16, 17].

As a result, home setup – where the handicraft production is taking place most of the time – is currently stepping up as an alternative production and shopping platform in Russian fashion/retail industry by replacing regular shopping malls and street-stores. Simply put, ‘home setup’ is challenging not only the mass production (fast fashion) but also fashion brands, which require physical store location. Working from home entrepreneurs do not have to pay rent or any other utility bills that require sustaining physical offline-store. This new format of fashion/retailing at ‘home setup’ is saving extra expenses. In other words, this shift is shaping how fashion is created today, how consumer buys, how culture is preserved and how the industry is evolving [8]. Thus, next most potentially optimal option for fashion/retail development will be at home setup – no set location, fashion/retail obtains free/‘flowy’ nature, as it can be done almost anywhere.

Compared to countries, which are living sanction free are not experiencing as drastic structural transformation in fashion/retail sphere as Russia. The reason for this is that in other countries mass production, fashion brands and handmade/craftmanship all coexist together in one fashion/retail industry. As a result, there is no such drastic structural transformation happening as in Russia – at least not yet. Here people have a choice whether they want to shop at the fast fashion store or at luxury brand or purchase handmade goods. In other words, people’s choice shapes the fashion/retail industry in other countries. While in Russia the structural transformation is fast enough making people first to shop at fast fashion then at fashion brands and now to find artisans of craftsmanship, i.e. people are constantly finding alternative places to shops.

However, the rise of slow craft (handmade/craftmanship) reflects a growing appreciation for handicraft products that prioritize authenticity, quality, sustainability, independent design and uniqueness over speed and quantity [10]. Slow craftmanship is all about longevity – buying less, but buying better, which will serve our purpose for longer [10]. However, any product has to be appreciated to make it last longer and handicraft goods may not always be the cheapest option forcing people to think twice before purchasing. Yet, handicraft things are different.



Bibliography

[1] COFFEE x LEMONS (2026) “Обвес — больше, чем каприз. Это новый язык аксессуаров” (transl. COFFEE x LEMONS (2026) “A body kit is more than just a whim. It's a new language of accessories”) https://coffeexlemons.ru/selections/obves

[2] Соловьева, Полина in Grazia (2025) “МОДНЫЙ «ОБВЕС»: В ТРЕНДЕ ЛИ БРЕЛОКИ ДЛЯ СУМОК В 2025 ГОДУ” (transl. Solovyeva, Polina in Grazia (2025) “FASHIONABLE "BAG KEYCHAIN": ARE BAG KEYCHAINS TRENDY IN 2025?”) https://www.grazia.ru/fashion/modnyi-obves-v-trende-li-breloki-dlya-sumok-v-2025-godu/

[3] ElytS (2025) “Брелоки — тренд 2025. 13 модных обвесов для телефона, сумки и не только” (transl. ElytS (2025) “Keychains are the 2025 trend. 13 fashionable accessories for your phone, bag, and more”) https://elyts.ru/blog/breloki-trend-13-modnyh-obvesov-dlya-telefona-sumki/?utm_referrer=https%3A%2F%2Fwww.google.com%2F

[4] LA OL Markit (2026) “From trends to meaning: how handmade accessories became a form of self-expression” https://la-ol.com/insights-reviews/from-trends-to-meaning-how-handmade-accessories-became-a-form-of-self-expression/

[5] Варя – книги, творчество, лайфстайл (@sunnlow) in Instagram (2026) “Попытаюсь вместить в минутный рилс то, чем занималась 2 недели…” (transl. Varya – books, creativity, lifestyle (@sunnlow) in Instagram (2026) “I'll try to fit into a minute reel what I've been doing for two weeks...”) https://www.instagram.com/reel/DXuUCqBDi1l/?igsh=MThwMjdtcGlvdzdhYg==

[6] Plumpy Studios – Tiffy (@plumpy.world) in Instagram (2026) “Trial reel – Making my magnetic kissy fish…” https://www.instagram.com/reel/DV9xnLfDHRS/?igsh=MXFscnIwaHl3Z2w4Nw==

[7] SALINA (@studiosalina) in Instagram “The pod members have spoken and they picked…” https://www.instagram.com/reel/DZB3oY1qgPs/?igsh=aTQ3cDcwZjZ2a3pn

[8] Munda, Deepti in Alokya (2025) “Why ‘Made by Hand’ is the Future: The Growing Consumer Shift Toward Artisanal Products” https://alokya.com/blogs/news/why-made-by-hand-is-the-future-the-growing-consumer-shift-toward-artisanal-products-1

[9] The Leather Store (2026) “Why Handmade Still Matters in a World of Fast Fashion” https://www.theleatherstoreuk.com/blog/why-handmade-still-matters-in-a-world-of-fast-fashion

[10] qloud-tech in CASI BORG (2026) “Handmade Products Trending in 2026: A Shift Towards Authenticity” ttps://qloudtechnologies.com/blog/handmade-products-trending-in-2026-a-shift-towards-authenticity/

[11] Клубный Сервис (@klubniy_servis) in Instagram (2026) “Как выглядит кризис в сфере продаж…” (transl. Klubniy Servis (@klubniy_servis) in Instagram (2026) “ What a sales crisis looks like…” https://www.instagram.com/reel/DXMLh3kjOW-/?igsh=MWV3ZWlhM3FnaDU1cA==

[12] Настя – украшения из полимерной глины – миниатюра – Гарри Поттер (@b.art.s_) in Instagram (2026) “Видео для неспешного просмотра, делайте звук погромче…” (transl. Nastya – polymer clay jewelry – miniature – Harry Potter (@b.art.s_) in Instagram (2026) “This video is for leisurely viewing, please turn up the volume…”) https://www.instagram.com/reel/DW-_p2NjXuK/?igsh=MWplM2NzbWlsaGVpMQ==

[13] Украшения с настроением! Ручная работа, Мытищи (@nareli_jw) in Instagram (2026) “Ошиблась с оттенком малины для браслета…” (transl. Jewelry with a touch of fun! Handcrafted, Mytishchi (@nareli_jw) in Instagram (2026) “I made a mistake with the raspberry shade for the bracelet...”) ttps://www.instagram.com/reel/DWoj-dKDBUT/?igsh=dzF1MmhsNjZsdzBw

[14] weenbean (@ween._.beanie) in Instagram (2026) “brb busy crafting…” https://www.instagram.com/reel/DUBP__ODb7A/?igsh=ajVlbjI3MXJpa2hu

[15] Tammy Dinh (@uncomfy.co) in Instagram (2026) “I finally reopened my preorders last month…” https://www.instagram.com/reel/DXICJ5mEiPp/?igsh=YmowbmY1cXZzaG5o

[16] Анна Цыганок – Кружево на коклюшках (@annatsyganok_lace) in Instagram (2026) “С Днем Вологодского кружева…” (transl. Anna Tsyganok - Bobbin lace (@annatsyganok_lace) in Instagram (2026) “Happy Vologda Lace Day...”) https://www.instagram.com/reel/DY1goueKdgH/?igsh=MXdldWRkZXRobWJydA==

[17] Liudmila Olefir – Авторское ирландское кружево (@_lusi_lace) in Instagram (2026) “Как вам наше новое летнее платье?...” (transl. Liudmila Olefir – Designer Irish lace (@_lusi_lace) in Instagram (2026) “How do you like our new summer dress?...”) https://www.instagram.com/reel/DZF15NEIcUi/?igsh=MXhxZTd0bG14cm55dw==



* Instagram (owned by Meta, recognized as an extremist organization) has been banned in Russia since March 2022. / Instagram (принадлежит Meta, признанной экстремистской организацией) запрещен в России с марта 2022 года.

According to Lina Dembikova (Russian celebrity stylist, creative director, influencer and a tv-host, founder of AVA School in Moscow), throughout 2025-year fashion industry had experienced a fall in sales which had, consequently, slowed the production down leading many brands simply not to have enough turnover to launch spring 2026 collections [1]. According to Anna Mahorina (Russian fashion journalist), some brands had even to close down [2]. Based on these annotations, Russian fashion industry could be viewed as being in ‘crisis’.
Despite of this, Russian fashion industry feels like it is currently undergoing structural transitional shift or even evolutional process, as a result fashion industry feels unstable, shaken and uncertain. As the saying goes ‘After the storm comes the calm’. This saying perfectly describes the current state of Russian fashion industry is in – the ‘storm’ stage. There are several reasons that have led to this situation in Russian fashion industry.

Before dwelling into the reasons, it has to be made clear that sanctions, which have been applied against Russia, as a response to the Russo-Ukrainian Conflict in 2022, have not made Russia weaker. Sanctions, on the contrary, have made Russia stronger in a sense of independence by getting Russia out from the Western influence. In other words, Russia has truly become independent sovereign country on the international arena – an equal rival to unipolar dominance, which has been ruling since the 1991 after the collapse of the USSR. However, besides sanctions, which continue affecting Russian logistics, internal-domestic issues do pertain and new ones are emerging, as Russia is adapting and developing in its new post-sanction reality.

Below is the list of some recently emerging reasons/factors that have had a significant effect on Russian fashion industry.

1) Unexpected weather
Last 2024-2025 winter was warm, which, consequently, froze brands’ funds, while 2025-2026 winter has not been able to generate the volume of sales that brands need [1, 2, 3]. According to Chek Index analysts, from October to December 2025, winter clothing sales in Russia declined – coat sales fell by 9% year-on-year, jackets by 8% and hats by 5%, while, according to Irina Maksimova (Director of Purchasing and Fashion Product Development at Lamoda), puffy-jacket sales fell by 10% [3]. As a result, many brands have been closing down their brick-and-mortar stores and keeping costs down, in order to just to retain their position in fashion market, not to mention of making profit [1]. As a domino effect, many brands delayed releases of their spring 2026 collections – some made very small drops, while others repeated previous designs and did not invest in new models [1].
Instead of rushing to release new seasonal collections brands restrained themselves and were cautious of their actions. This is a smart move on behalf of Russian brads, considering the uncertainty times that Russian fashion industry is currently undergoing. Maybe something minor weas released by brands just to keep clients’ interest and to make sure clients will not forget the brand.

2) Frequent sales
Lina Dembikova’s comment on current economic situation in Russian fashion industry is also well reflected how Russian fashion brands have started – somewhat from the mid-2025 up to today so far – to organize sales quite frequently in their online/offline shops. Few forms of sales that brands have used – 1) Almost once a month sales have been held in some brands’ online/offline stores [4, 5, 6, 7, 8, 9, 10], 2) Regarding older collections that have not been sold out in time have been put under big discounts [11, 12], and 3) Some brands have used creative strategy in their sales, for instance, sales organized together with lottery [13].
The third strategy involves customer to visit the offline-store. While shopping in the offline-store customer and the brand create connection in the form of mutual memories and ‘building up intrigue of lottery experience’, as the customer reaches the ‘grand finale’ – the cashier moment – where the sale-lottery will take place. The third strategy resembles to some extent gambling where the customer will experience adrenalin-fuel highs before receiving a reward. However, a question and paradox arise – Russia has banned gambling under the Federal Law No. 244-FZ of 29.12.2006 Art.5 [14]. Yet, alternative ways of gambling – i.e. ‘soft forms of gambling’ – are being explored by fashion brands, in order to invite and to attract customers to shop. Thus, can third strategy of sales be considered as gambling or a ‘sneaky’ marketing/shopping invite by the brands?

3) Shopping parity decreases – ‘Delivery+Fitting’
Some brands have eased their customer’s online/offline shopping experience by bringing it to them. In other words, providing ‘delivery+fitting’ to customer’s home door for free of charge [15]. This service implies that customer selects garment pieces online, which are then delivered by a courier or shop-manager to customer for fitting. This strategy allows customer to try the garment pieces in their own comfort zone together with their existing wardrobe and then to make the most optimal decision of purchase – which garment pieces customer will select and which ones he/she will return back. In other words, this strategy makes it easy, time saving and hassle-free for customer; instead of for customer to put the effort of going to the delivery point to pick up the order or traveling to the offline-store, i.e. shopping matrix has flipped. Today the brands/businesses have to do most of the work, besides their own.
Considering the economic crisis the world is currently in, the ‘delivery+fitting’ strategy could be perceived as a new evolution in the fashion industry today. The more unstable times, the less likely customer will be prone for shopping and spending. The solution – if customer is not coming to shop, then the brands/businesses will bring shopping to customer. In other words, brands/businesses are customizing their approach to customers’ needs. This way brands/businesses are adapting to new economic realities in order to survive and generate revenue in the times of crisis.

4) Tax
Starting from the 1^st January 2026, a new tax law came into force in Russia – the basic rate of value added tax was increased from 20% to 22% [1, 16]. This meant that not only Russian fashion industry, but business sphere in general, would end up carrying additional financial burden where businesses would end up making hard decisions potentially affecting their businesses both supply-demand and the relationship between the brand/business and customer. With the tax increase brands/businesses have to decide how to allocate extra financial expenses in their business.
Either brands/businesses allocate extra financial burden on their internal processes by saving extra expenses in their supply chain. For instance, by cutting down on employees, on product quality, quantity of goods being produced, etc. Regarding shrinking quantity production, small collection may be perceived as ‘limited edition’ by customer and in some cases may generate (impulsive) sales. In other words, supply chain will carry the tax burden, while the prices of the garments may remain the same, which will be very much appreciated by clients and perceived as if the brand/business remains loyal to its customers.
Or brands/businesses may allocate extra financial burden by raising pricings for goods, so that customer will end up carrying the tax responsibility on behalf of the brand/business; i.e. the demand chain will carry the tax burden. However, this choice may be risky for brands/businesses, as there is a chance that sale may drop as customer will be not willing to pay higher price for ‘overpriced’ goods. Considering that other daily utility goods’ pricing have also gone up forcing the customer to rethink its spending priorities. As a result, affordability becomes an issue and people will think twice between ‘entertainment’ and essentials. Unfortunately, this is already happening. Even prior to the new tax law in January 2026 people in 2025 were already decreasing their purchasing parity ability.
In other words, when expenses eat away profits, companies may start to cut corners even on their own products [17]. Unfortunately, we are witnessing this. As Lina Dembikova had mentioned, it feels like Russian fashion is going back to selling super-basic clothing, instead of producing extraordinary and interesting garment pieces.

5) Long-term planning
From customer perspective while walking on the streets of Moscow and/or shopping centers you occasionally see empty spaces where brands/shops used to be before, but now they stand empty. This obviously raises a question – ‘Is everything okay with the economy?’, ‘Is it just the fashion industry?’, ‘Why cannot brands afford to have/sustain offline-shops?’, ‘What is happening?’. Based on these observations, it appears like having/keeping up an offline-shop has become some sort of a challenge. Almost synonymous to luxury for today-businesses – as prices are going up customer/clientele becomes careful with spending, while online-shop has made shopping easier and convenient.
Anna Mahorina (Russian fashion journalist) describes Russian fashion/retail industry as “if Russian fashion was a ship, it would have been a Titanic, and the crisis, as an iceberg, that the Russian fashion crashed into” [2]. Not only external factors are to blame, but also the brand/retail-teams themselves, as a result of which purchases are decreasing [2]. Anna Moharina agrees with fashion analyst, Anna Yakimova, that the main reason for this ‘endemic-closure’ of Russian retail brands in mass has been due to the lack of a long-term strategy planning [2]. Russian fashion brands have been operating with short-term strategy and focusing on trends, which could be described as ‘moment here and now’ – ‘Here and now’ to open the shops, ‘Here and now’ in search for profit earning, ‘Here and now’ develop seasonal collection, etc [2, 18]. This kind of strategy of ‘what happens, will happen’ is a plaque to brand/business operation and it carries big risks [2].
At the end of the 2024, experts were already announcing predictions of upcoming hard times for Russian fashion industry, but they were not heard, i.e. ignored [2]. As a result, brands rushed to fix things too late when matters got bad – they should have thought strategically when everything were still good and adapt to upcoming events. According to consultants, in 2024, four brands were closed, while in 2025, about 20 Russian clothing and footwear brands closed completely their businesses [19]. In 2025, 320 offline-store locations were closed in Russia’s shopping centers, from which more than 230 stores were in clothing and footwear categories [19]. For instance, Gloria Jeans (GL) retailer, in post-2022 sanction era, basically replaced H&M on Russian retail market [20]. However, in 2023, GL had 683 operating retail stores, but by the end of 2025 the number dropped to 574 and, in 2026, GL is still planning to further close around 150 offline-store locations in Russia, in order to optimize the store count [19]. While other brands – might not yet be closing their businesses – are leaving the offline business format to internet/online business format [19].
Furthermore, as Maksim Bogatov notes (specialist in commercial real estate), the manner brands are leaving the offline business format is worse that it could be imagined [21]. The permanent closure of offline-stores and/or move from offline-stores to online business format has happened without pathos and hysteria; just quietly offline-stores left/closed, as if they never were there before, just vanished into the midair [21]. While this phenomenon is taking place, there is not much official news coverage on this topic, only very calm and tranquil atmosphere present on the social environment; almost eerie even. Probably not to make people to worry or to panic too soon, while situation is still uncertain as how it will turn out eventually – as panic is the worst enemy of any event. Though brands on social platforms do openly disclose their closures and/or thoughts on the topic, but this information remains solely within the frame of social platform, it does not reach much beyond it [22, 23].

6) Market places
Before digital, shopping centers were considered to be a fun place to go to, to shop, to wonder around and to spend time. However, today going to a store that is cluttered, crowded, non-innovative and non-changing can be exhausting, tiring, boring and even annoying experience for people [24]. To attract people to visit shopping malls today customer needs a reason, an incentive – an emotional stimulus, dopamine from an experience – as why he/she has to put an effort to go to a mall [24]. For instance, setting up pop-up stores for two weeks or for few months; like recently there was an announcement of a collaboration release between ‘Rogov x Zarina’ on the ‘Дача’ (transl. into English ‘Summer Cottage’) collection as a pop-up store at the mall Aviapark [24, 25]. No official statistics been released on the attendance of the Aviapark mall, as this information is regarded as trade secret, but the collection was accompanied with a great deal of excitement.
In other words, shopping centers today do not match digital experience. Today people predominantly shop online. This proves that customers’ shopping preference has shifted. No wonder brands are leaving offline business format to online business format. This phenomenon can be linked to few factors: 1) Current lifestyle is fast-spaced, digitally dependent and shifts towards convenience, 2) All of a sudden entrepreneurs started to count their costs and profits, which revealed very fast that customers have already been living in different system of coordination – it is important that goods arrive to customer and not the way around, and 3) The new growing generation defines the trajectory of future business development and their preference to shop [21, 24]. However, online business can also come with challenges, as Russian fashion/retail industry is currently experiencing today.
It is not only important to maintain profit and to increase turnover, but also make healthy business decisions when intermediatory system, i.e. online marketplaces, cannot sustain healthy symbiosis relationship with entrepreneurs/businesses. In 2026, marketplace expenses – primarily Ozon and Wildberries – have shifted from the category of variables that can be offset by sales growth to category of strict constraint on profit margins [26]. What is happening with sellers on marketplaces today is like opening pandoras box – marketplaces are ‘killing’ the Russian businesses. Businesses can earn on the marketplace only if their profit margin on the cost of production is 7x or higher [27]. Simply put – commissions on marketplaces have gone significantly up and sellers are the first ones who feel it and, thus, go out of business, as it is not profitable for businesses to operate at a loss [27]. Next are local producers who will go out of business after sellers, because of price risings [27].
However, the most important thing is that marketplaces are letting the Chinese sellers to enter Russian marketplace business with unfair conditions [27]. Chinese entrepreneurs do not have to show an honest trademark, they got reduced commissions and special hubs were created for them to simplify import system; if previously Chinese businesses had to wait 2-3 months, now it is 2-3 weeks [27]. In other words, what Russian seller makes profit for 10x, Chinese business makes profit for 3x, while Russian local manufacturer pricing is the same as Chinese 3x profit [27]. Consequently, there is no point for local Russian producer and entrepreneurs to have business – businesses are simply leaving the marketplaces or going bankrupt.
Furthermore, the privileges that Chinese businesses get, it seems marketplaces are pushing a ‘hidden agenda’ trying to force Russian entrepreneurs out of market/business. This reminds of the collapse of the USSR in 1991, when a large-scale and chaotic redistribution of state property began resulting in privatization into hands of oligarchs, who made business out of it. In some cases, offering more favorable conditions to foreign partners to work in Russia rather than support Russia and its socio-economic infrastructure. Today, it seems marketplaces are trying to repeat the history, where marketplaces are trying to infiltrate unfair business conditions for local Russian entrepreneurs forcing Russian businesses either to leave marketplaces or go bankrupt. Considering, after economic sanctions were enforced against Russia in response to the Russo-Ukrainian conflict in 2022, sanction gave Russia a unique opportunity to gain its own business independence and sovereignty in its own country, but now local Russian business niche is hit again, as if someone is trying to hinder the development and growth of Russia and its fashion/retail industry again.
Also, bad feedback from customers on damaged packaging of goods prior sending it to client has also become another reason why Russian businesses are leaving marketplaces to other online platforms to sell their products [28]. From personal experience, after ordering goods on marketplace sometimes the goods have arrived in bad wrapping condition, as if someone had opened them or peaked in prior. In other words, this does happen and in order to save brand’s reptation businesses are leaving the marketplaces somewhere else to sell, which makes sense. Considering this tendency, a new fashion/retail structure may form any time soon where Russian businesses will bypass marketplaces – no need to rely on intermediate system to promote the brand/business. For instance, a new structure where businesses will be able directly interreact with the customer and sell their goods to customers without any intermediacy.

7) Light industry
In 2025, Daniil Antsiferov (creator and designer in brands Les Archives and Daniil Antsiferov) has mentioned that Russian light industry is at its stage of “being reborn – being in its embryonic stage” [29]. Meaning the symbiosis of Russian fashion industry and light industry is only at its very early stage of development in becoming independent and self-sustaining. In additions to already existing challenge in light industry in Russian fashion/retail industry, a new and bigger issue is looming and may actually ‘cripple’ the fashion/retail industry to some extent.
According to Lina Dembikova, what is particularly frustrating about the light industry and Russian fashion/retail industry is that it feels like Russian fashion has just reached the point where, alongside the basics, brands had started to produce something dressy, creative, interesting, thinking about textures and new bold solutions [1]. Meaning Russian brands and light industry were slowly managing to find a mutual ground for operation. However, all of a sudden, the fashion industry is experiencing some sort of ‘time out’ or even a ‘collapse to some degree’ and that soon the brands will not only sell super-basic clothing, but it will be almost impossible to buy anything extraordinarily dressy [1]. As a result, it feels like the fashion industry is currently experiencing some sort of a ‘crisis’ or, more particularly, a structural transformation [1].

8) Social media platforms slowed down or banned
Banning or slowing down social media platforms has also had its negative impact on brands and their sales; especially, small and medium-sized businesses as with new restrictions, customer communication is getting severely impacted [30].
Some brands have for years been putting time and effort for building their clientele and audience on social platforms, like Instagram*, but after it got banned on the 14^th March 2022 – due to heavy anti-Russian narrative –, all their hard work went down the hill and brands had to start from the scratch by adapting to new realities and moving to new alternative social platforms like Telegram [22]. However, as brands and clientele adapted to this new platform soon, since the 9^th February 2026, Telegram’s traffic started declining and slowing down to the point that today it works only through VPN or proxies [30]. Reasoning behind these actions, according to Roskomnadzor, is that Telegram is refusing to correct its breaching of Russian law while operating within Russia geographical boundaries [30]. Currently, Telegram remains blocked in Russia and it is unclear what will happen next [30]. Furthermore, after WhatsApp* got banned in Russia, not all customers switched to Telegram. This proves that restoring customer service and clientele when switching to other social media and messaging apps is difficult.
Besides western social platforms, Russia also has alternative social and messaging platforms such as Max and VKontakt that are available for brands and businesses. However, Max is limited only for Russian mobile number holders. You need Russian mobile number to register at Max, as the number gets tied to digital platform, which is operated by the Russian government. While VKontakt is the Russian version of Facebook*, which can be used by everyone regardless of their geographical location. However, VKontakt and, especially, Max, are mainly used by Russian users and speakers, as these platforms are less known to the western hemisphere or totally unknown. This automatically limits the distribution and reach the content of brands/business can reach its audience; basically (almost) cutting out the western hemisphere out restraining it mainly to only Russians and Russian speakers, exceptions can but very few.



Considering these internal changes and challenges that brands/businesses are going through today, some in simple terms, may describe it that Russia is experiencing crisis. Personally, being in Russia, visually it may look like some sort of a crisis, but it does not feel like it. You see some brands/businesses closing their offline stores and these spaces standing vacant afterwards in the shopping malls or on the streets. This ‘vacantness’ can be synonymous in our minds to ‘crisis’, because we see emptiness. However, some brands are still operating and having their offline stores. This means that some brands/businesses are managing to handle and adapt to current ‘hard times’.
It does indeed feel a bit weird seeing vacant store, comparing to the 90’s memories when we went to the shopping mall and we saw it overflowing with people and shop activity. Today, this business model is changing, at least in Russia it is. Currently, we cannot say for certainty what is going to happen and/or what will replace the old business model, but it is for sure there will be a drastic structural change – either brand/business will survive this ‘Great Depression’ moment and adapt to new reality that is on its way or not. As Igor Stoyanov (visionary strategist) has stated, the market is currently experiencing its biggest transformation in decades – businesses are closing, profits are falling, advertising and leads have become much more expensive, but most importantly a new market structure is emerging [17, 31].



Bibliography

[1] LINADEMBIKOVA (t.me/linadembikova) in Telegram (16.02.2026) https://t.me/mosfweek/20306

[2] Post Wintour Анна Махорина (@post_wintour) at Instagram (2026) “Мнения?” (transl. Post Wintour Anna Mahorina (@post_wintour) at Instagram (2026) “Opinion?”) https://www.instagram.com/reel/DXyjFVPIPR7/?igsh=MTcwbXZqZWFtemRzNg==

[3] Расина, Даша in Т-Бизнес Секреты (2025) “В России снижаются продажи зимней одежды” (transl. Rasina, Dasha in T-Biznes Sekrety (2025) “Winter clothing sales are declining in Russia”) https://secrets.tbank.ru/novosti/prodazhi-zimnej-odezhdy/

[4] Cois (t.me/cois_co) in Telegram (2026) “MID-SEASON SALE TO 30%...” https://t.me/cois_co/1082

[5] Cois (t.me/cois_co) in Telegram (2026) “FINAL SALE…” https://t.me/cois_co/910

[6] AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “Только онлайн на сайте AUTENTIMENTS.COM …” (transl. AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “Only online at AUTENTIMENTS.COM…”) https://t.me/autentiments/5707

[7] AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “GARAGE SALE AUTENTIMENTS в ЦВЕТНОМ…” (transl. AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “GARAGE SALE AUTENTIMENTS at Tsvetnom…”) https://t.me/autentiments/5600

[8] ANNUKO (t.me/annuko) in Telegram (2026) “Заключительный день межсезонной распродажи…” (transl. ANNUKO (t.me/annuko) in Telegram (2026) “The final day of the mid-season sale…”) https://t.me/annuko/5800

[9] ANNUKO (t.me/annuko) in Telegram (2026) “Last chance to buy/…” https://t.me/annuko/5608?single

[10] ANNUKO (t.me/annuko) in Telegram (2026) “Сегодня – последний день Winter Sale…” (transl. ANNUKO (t.me/annuko) in Telegram (2026) “Today – Last day of Winter Sale”) https://t.me/annuko/5495?single

[11] True Red (2026) “Джинсы” (transl. True Red (2026) “Jeans”) https://truered.ru/catalog/bryuki_i_shorty/dzhinsy_258301/

[12] Ligio (2026) “Футболка оверсайз из плотного хлопка тофу” (transl. Ligio (2026) “Oversized T-shirt made of thick tofu cotton” https://ligio.ru/catalog/odezhda/futbolka-oversize-iz-plotnogo-khlopka-tofu/

[13] Cois (t.me/cois_co) in Telegram (2026) “Спешим напомнить, что сегодня последный день нашей беспроигрышной лотереи в официальном телеграм-боте COIS…” (transl. Cois (t.me/cois_co) in Telegram (2026) “We would like to remind you that today is the last day of our no-lose lottery in the official COIS Telegram bot”) https://t.me/cois_co/1062

[14] КонсультантПлюс (2026) “Федеральный закон от 29.12.2006 N 244-ФЗ (ред. от 02.05.2026) "О государственном регулировании деятельности по организации и проведению азартных игр и о внесении изменений в некоторые законодательные акты Российской Федерации’” (transl. KonsultantPlus (2026) “Federal Law of 29.12.2006 N 244-FZ (as amended on 02.05.2026) ‘On state regulation of activities related to the organization and conduct of gambling and on amendments to certain legislative acts of the Russian Federation’” https://www.consultant.ru/document/cons_doc_LAW_64924/d6fb3580fbd6ef3e662688c02af241894aa7f3a6/

[15] AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “С 10.02 по 28.02…” (2026) (transl. AUTENTIMENTS (t.me/autentiments) in Telegram (2026) “From 10.02 till 28.02…”) https://t.me/autentiments/5580

[16] Федеральная налоговая служба (2026) “Налоги 2026” (transl. Federal Tax Service (2026) "Taxes 2026) https://www.nalog.gov.ru/new2026/

[17] Игорь Стоянов – стратег-визионер (@igor_stoyanov) in Instagram (2026) “А ты готов к перерождению рынка?...” (transl. Igor Stoyanov – visioner-strategist ((@igor_stoyanov) in Instagram (2026) “Are you ready for the market's rebirth?...”) https://www.instagram.com/reel/DYC_ZLgjp59/?igsh=MXJyMDJuamx3a3Z6cQ==

[18] Anna Kouts Fashion Influencer Anna Aleshina (@anuta_kuts) in Instagram (2026) “8 ПРАВИЛ для брендов в 2026…” (transl. Anna Kouts Fashion Influencer Anna Aleshina (@anuta_kuts) in Instagram (2026) “8 RULES for brands in 2026…”) https://www.instagram.com/p/DX4qjtmjLtV/?igsh=MTVyeXVsdzc5MGdlaQ==

[19] РБК (2026) “Gloria Jeans закроет около 150 магазинов до конца года” (transl. RBK (2026) "Gloria Jeans closes around 150 shops by the end of the year") https://www.rbc.ru/business/25/03/2026/69c2a09c9a79474e54742e2c

[20] Елизавета Свинцицкая (@_miss.liza) in Instagram (2026) “Больше информации про бизнес на реальных примерах на странице @_miss.liza , подписывайся” (transl. Elizaveta Svintsitskaya (@_miss.liza) in Instagram (2026) “ For more information about business with real-life examples, follow @_miss.liza.”) https://www.instagram.com/reel/DWT437tDY8c/?igsh=MWphcWpiNzZzam1oZA==

[21] Максим Богатов Street Retail (@bogatovestate) in Instagram (2026) ”Похороны ТЦ” (transl. Maksin Bogatov Street Retail (@bogatovestate) in Instagram (2026) “Funeral Shopping Centers”) https://www.instagram.com/reel/DWjpn4vgpWk/?igsh=bmM1bDllc3RmZ2E4

[22] Соловьева, Светлана (@salekseeva) in Instagram (2026) “Накирело. Верба @verba_lab_ru держится и продержится…” (transl. Solovyeva, Svetlana (@salekseeva) in Instagram (2026) “It's getting worse. The Verba @verba_lab_ru is holding up and will continue to do so…”) https://www.instagram.com/reel/DXMdjDKjBHu/?igsh=MWdscGkwMmMyOG83NA==

[23] ЧУКС (@choux.ru) in Instagram (2026) “((( CHOUX ))) как бренд одежды прощается с вами!;;;” (transl. Choux (@choux.ru) in Instagram (2026) “((( CHOUX ))) how clothing brand is saying goodbye with you!...” https://www.instagram.com/p/DY34YB9t-Qh/?igsh=MWF1Zmp6NjQ4OWpuaA==

[24] The Art of the Brand Podcast (@theartofthebrand_) in Instagram (2026) “Retail is changing to reflect World-Building. What you should be considering for your retail experience…” https://www.instagram.com/reel/DXoyS_-ADtT/?igsh=azg1MXVpOHdya2F6

[25] ROGOV (t.me/rogov24) in Telegram (2026) “ЭТО СЛУЧИЛОСЬ!!! Уже сегодня коллекция ROGOV X ZARINA…” (transl. ROGOV (t.me/rogov24) in Telegram (2026) “IT HAPPENED!!! The collection ROGOV X ZARINA is already available today…”) https://t.me/rogov24/37006?single

[26] Rikorda (2026) “Как управлять расходами на маркетплейсах в 2026 году” (transl. Rikorda (2026) ” How to Manage Marketplace Expenses in 2026”) https://rikorda-group.ru/blog/kak-upravlyat-raskhodami-na-marketpleysakh-v-2026-godu/

[27] Сергей Родин (@metodrolina) in Instagram (2026) “Почему мы ушли с маркет плейсов и что ждёт российский бизнес” (transl.Sergei Rodin (@metodrolina) in Instagram (2026) “Why we left marketplaces and what awaits Russian businesses”) https://www.instagram.com/reel/DXZJZU7CDdt/?igsh=eTAwOTc4enhtZ3kx

[28] Постельное белье (@postelnoe_belye_yug) in Instagram (2026) “Арт. #318344695 #wildberries…” (transl. Postelnoe belye (@postelnoe_belye_yug) in Instagram (2026) “Арт. #318344695 #wildberries…”) https://www.instagram.com/reel/DXmeyGoCsHe/?igsh=MTY2c3l6ZGtlZGt6Ng==

[29] Мадонна Мур (@MadonnaMur) in YouTube (2024) “Дизайнер Даниил Анциферов: как делать успешный бренд в России” (transl. Madonna Mur (@MadonnaMur) in YouTube (2024) “Designer Daniil Antsiferov: How to Build a Successful Brand in Russia”) https://youtube.com/watch?v=d_gCq8z6law&si=z8FFlMhCNfrl7enq

[30] Пастернак, Леонид and Путятин, Никита in Коммерсантъ (2026) “Ограничения ударили по чатам” (tranls. Pasternak, Leonid and Putyatin, Nikita in Kommersant (2026) “Restrictions hit chats”) https://www.kommersant.ru/doc/8420737

[31] Никита Белевцов – Про маркетинг и бренды (@belevtsow) in Instagram (2026) (transl. Nikita Belevtsov – About marketing and brands (@belevtsow) in Instagram (2026)) https://www.instagram.com/reel/DYh1UeSOTIR/?igsh=d2UxdmxqdTBxNmFj



* Instagram (owned by Meta, recognized as an extremist organization) has been banned in Russia since March 2022. / Instagram (принадлежит Meta, признанной экстремистской организацией) запрещен в России с марта 2022 года.

* WhatsApp (owned by Meta, recognized as an extremist organization) has been banned in Russia since March 2022. / Instagram (принадлежит Meta, признанной экстремистской организацией) запрещен в России с марта 2022 года.

* Facebook (owned by Meta, recognized as an extremist organization) has been banned in Russia since March 2022. / Instagram (принадлежит Meta, признанной экстремистской организацией) запрещен в России с марта 2022 года.