ENGLISH SUMMARY
Paris haute Couture Week (pages 16-19)
If unisex and streetwear reign on the catwalks of London, New York and even Milan, then Paris Fashion Week remains the last bastion of femininity in its true guise. There is no place for marginality, restraint, minimalism or democracy. Only items of the highest quality are worn by the most exclusive models, produced by the most famous fashion houses, revealing their sources of inspiration.
This season, the whole world again, watched the spectacular show with bated breath, from the French capital. The visual display of Paris Fashion Week, remained at an impeccably high level as always, with the exciting element of a very topical but relevant subject in the minds of today’s society: feminine power and the overall position of women in the modern world; defining women as the essence of life itself. We selected the displays from the four fashion power-houses – Dior, Chanel, Valentino and Iris Van Herpen, showcasing their most daring displays yet.
Jean Gritsfeldt: The art of fashion performance (pages 20-23)
One of the most extraordinary Ukrainian fashion designers, Jean Gritsfeldt, believes that any location can become a venue for a fashion show. His shows have been held at the Boryspil international airport, on an ice rink, in the Kiev registry office, in a television studio of a political talk show, which only confirms this very fact. The new collection of the Fall-Winter 2020/21 season, is dedicated to the theme of global disasters and climate change. The Out Of System collection, made from the stocks of a bankrupt knitwear factory, uses boiled denim and branded knitwear featuring endangered animals, using genealogical stones with accessories from oyster shells and Swarovski crystals.
The M.O.S.T.: Your latest collection presented in Kiev this winter is called Out Of System. You yourself compare your collection with a blank white sheet of paper on which you want to write «the right things.» What things do you think are right in fashion and in life in general?
Jean: Take high-waisted pants as a rule (laughs). Just kidding, of course, my system of rules applies only to some universal laws - when you need to support someone who is worse off than you, who is weaker, when you need to pay attention to someone who needs it, be kind and open, demonstrate education and the basics of morality in our modern, quite immoral world, in which, at first glance, everything is possible without consequences. With creativity and fashion, I try not to follow any rules, because sooner or later it can lead to clichés and imitation, but I want to at least have the boldness of uniqueness.
The M.O.S.T.: This collection is actually a socially significant statement. How effective are such actions of creative people? What response do you want from the public, from society?
Jean: I don’t know if I want to demand some kind of active action or beat myself in the chest, claiming that it’s not enough just to watch, but to act, because radical statements over time often look ridiculous. History is cyclical, and we do not know how to draw conclusions, repeating our mistakes from time to time. I’m just talking about what excites me, and what I encounter every day. I think that in order to change the main problems, you can at least try to start solving secondary ones. I try to do this by my own example, and my attempts are no longer a word, but an action. I think this is very important, especially when you are a public person.
The M.O.S.T.: Demonstrations of your collections are always a performance that often explains the main message of your creations. Is fashion a theater? What is fashion today for you?
Jean: This probably it should be rephrased: fashion today is a theatrical backstage. Many secrets of the industry are becoming apparent, and everyone says that fashion shows will soon cease to exist. It is is expensive, energyconsuming and pointless, since only the elite can get into the artificially created world of the designer and buy themselves fashionable items. However, I would really like to believe that the performance that excites, impresses and makes your heart beat faster will still remain, because it makes everything clear without the need for words. Everyone sees something of his own, which draws energy. This is inspiration; this is the art to some extent.
Marie Mas: The magic of movement (pages 36-37)
The collections of the Parisian jewelry designer, Marie Cabirou, are nothing more than an innovative technical feat. Each piece of jewelry she creates, can be transformed in a split second. Gemstones are set according to the principle of back to back, so the original mechanism allows the gems, as if by magic, to rotate and change color. The strength of the MARIE MAS brand lies in the development of new, patented technologies that become part of the corporate identity. This is what happens when expert craftsmanship meets innovation, to create the most incredible jewelry pieces.
The M.O.S.T.: You named your brand after your grandmother, Henriette. Please, tell us about her. How did she affect your taste and artistic vision?
Marie: When I was a child, I used to spend a lot of time with my grandmother. She is the one who inspired me with ideas and how to make them come true. She taught me how to do all sort of things; from embroidery to knitting, to how to make clothes. She taught me how to be a perfectionist and remake things until it’s perfect – she is always in my mind when I work.
The M.O.S.T.: Before launching your own brand, you worked with Raf Simons at Dior. What did you learn from this?
Marie: It was an amazing experience; it was fantastic to work for such a beautiful brand and such a talented Art Director. I learned a lot about jewelry design and it gave me a better understanding on the operations of a big brand.
The M.O.S.T.: Movement is the main feature of your jewelry. making them appear alive. How was the idea of
“swinging stones” born?
Marie: Movement has been an obsession of mine since I started to design. For me a design is good only if it’s surprising and looks alive; each piece needs to have a soul.
The M.O.S.T.: The luxury goods industry is rather limited and conservative. How difficult is it to bring innovation and fresh ideas to the market?
Marie: It is not easy, but doable, and like everything, it has positives and negatives. The positive is that it attracts attention because it’s different, but the more difficult side is to teach customers how to take risks - to wear new pieces of fine jewelry.
The M.O.S.T.: Why do you think a woman needs a «moving» jewelry?
Marie: To make her happy! Having a jewel that dances with you, brings you some magic, joy and playfulness in your daily life.
LVMH Watch Week Dubai 2020 (pages 44-50)
It cannot be denied that in the last couple of years, the major watch fairs, Baselworld and SIHH, have been the focus of attention, but not in a pleasant form. There has been criticism from all sides, brands, collectors, journalists ... It all started with a change in format when Baselworld and SIHH announced that they would synchronize their calendars starting in 2020, and both exhibitions will be held in late April - early May.
The Geneva salon - wanting to get rid of all the negative flair - also decided to change their name, becoming Watches & Wonders Geneva 2020. Later it was announced that both watch exhibitions would be completely canceled due to the outbreak of coronavirus. But, as they say, a sacred space is never empty. LVMH decided to hold its first watch exhibition in history, uniting under its shadow, four watch manufacturers that are part of the holding: Bvlgari, TAG Heuer, Hublot and Zenith.
The event, held January 13-15 at Bvlgari Resort Dubai, the largest hotel in the Bvlgari collection, allowed Bvlgari,
TAG Heuer, Hublot and Zenith to join forces to present new chronographs and landmarks of 2020, and offer international media, retail partners and customers, a unique experience. This new event at the same time is another illustration of the unrivaled sense of hospitality in LVMH homes.
We have selected the most interesting models of new products presented during this event, and offer you to familiarize yourself with their impeccable visual characteristics.
From shocking the audience and striving for the challenge of tranquility and self-contemplation... A beacon of the Azerbaijani beauty industry, celebrity makeup artist Rukha, reveals herself in a completely new light in an exclusive interview, in which she talks about how motherhood changed her, the launch of her own cosmetic line and the standards of beauty in general.
The M.O.S.T.: When did you realize that your profession was actually your vocation and that you had something new to contribute to the industry?
Rukha: Our show-business played a huge role in my professional development. I have never been a fan of local singers because of all the stylistic mistakes in their image that bothered me. Now every star has a personal stylist, working exclusively for them but it wasn’t always the case. Nargiz Jalilova, the TV host was the first person I worked with. Then, Zulfiyya Khanbabaeva who is an Azeri pop singer, who is now iconic, because of her black and white image that I created. Another Azeri pop singer, Aygun Kazimova was impressed by my work, therefore we came up with a wonderful image consisting of shades of gold and silver for her. The joint work resulted in a long-term friendship, which we maintain to this day.
The M.O.S.T.: Just recently you launched your cosmetic line. Tell us about it.
Rukha: I created a cosmetic line based on natural ingredients that have a natural color scheme. So far, the line includes only nine products, which I believe every Azerbaijani woman should have in her bag. I hope that it will become popular, and used widely.
The M.O.S.T.: What should be in every woman’s cosmetic bag?
Rukha: This, of course, is individual and depends on the type of skin. Returning to my line, I tried to find universal remedies for women with normal and mixed skin types. It was a lot of work, which I spent three years on — travelling, watching, choosing. It was very expensive, both financially and emotionally. Currently I am engaged in the promotion of my products and have already shot commercials. I really want to believe that they will be sold, not only in Azerbaijan; but for this I have to work, work and work again.
The M.O.S.T.: How has motherhood changed you?
Rukha: Before, I didn’t care what will happen to me tomorrow, however now I understand that I have a child, and I must educate her, raise her, put her on her feet. I have a specific goal – I want her to grow up as a smart, worthy person, which I would be proud of. I live for her, I do everything for her and I hope that she will appreciate it. It doesn’t matter which way she will choose, as this is her life. I gave birth to her so that she would live a life she wants. I did not give birth to her for myself, out of selfish motives, so that she will look after me in old age. I myself, went through similar difficulties, and cared for both my father and mother, and it was a very difficult time.
She is the director of a documentary about a beauty contest in a women’s prison, a short feature film about God and the author of presentational videos of international sports competitions - in particular, the European Games in Baku, and music videos of singer, Alsou. The filmography of Maria Ibrahimova, though
not very long, is certainly diverse. Her private life is also a colorful palette of adventure.
The M.O.S.T.: You were born in Moscow, grew up in New York, lived in Paris and Brussels, and now in Baku. Where do you feel at home and why? How did each place affect you and your perception of the world?
Maria: I remember Moscow very little, mostly in fragments ... Cold, vinaigrette, a puppet theater, a kindergarten, a Pekingese belonging to my aunt named Zholik, and a summer pioneer camp where my grandmother worked as a doctor. Of course, I really love New York, the city of my childhood and early youth. My mother and her husband live there, as well as my favorite museums and theaters, so most likely I feel at home there.
Living in Paris had been my dream since I was 14 years old, and family circumstances led us to move there when I was 18. This happened just at the time when young people began to search themselves. I was very lucky that this search began for me in Paris. This is an amazing city, especially since it was magical for me.
I studied French, worked and walked around the whole city. I was surrounded by outstanding, talented people communication with whom I was very stimulated. I still have the most vivid and fond memories of this city. Brussels is also a special place for me. I went there to study and met a young man from
Baku. Subsequently, we got married, and I moved to live in this city. I can’t say that any city or country has affected my perception of the world. Most likely, these were the people who raised me, loved and taught me.
The M.O.S.T.: When and how did you decide to become a film director?
Maria: This decision came immediately after watching a documentary about Sviatoslav Richter. The documentary was called “Richter: The Enigma.” Its author is the French director, Bruno Monsaingeon. This film shocked me, and I went to a festival in Miami to participate in the screening and discussion. There I met Bruno and later he became my mentor. I was honored to meet and become great friends with him.
The M.O.S.T.: Your first film was a documentary «Miss GULAG» and the shooting process was not an easy task. Tell us about this work. Why is it special for you?
Maria: My first documentary was shot in 2005. I was searching for a topic that interested me for a long time and then accidentally found out there was a beauty contest taking place in a Russian women’s prison. I could not believe that such a thing was possible. Prison and a beauty contest – seriously?! Now the topic of the so-called dashing nineties years is not popular at all, I would even say it is avoided. However, it was a terrible time in every respect. If you think about it, 10-15 years in a person’s life is a long time, especially if the cruel, but familiar world is fundamentally changing around you. You are 15-18 years old at this time, and you, a young girl, get such a long sentence. It’s too impossible to realize and this gave me a lot to think about. I acquainted myself with the stories of my heroines – they were about my age and I involuntarily thought how I would perceive the events taking place before my eyes, and what would have happened to me if my mother had not taken me away from Russia. During the filming, a curious incident happened to me. We shot in a village called Voskresenka. It was a very clear day. My recently released heroine, Natasha, with all her wonderful family around, sang songs with a guitar. The village had small houses, with pigs and hens walking around, and for some reason at that moment I felt at home. It is all about the connection you make with people!
To date, I consider Miss Gulag my best work. I don’t want to change anything about it, except for some little things. I would leave everything as it is, in the original. I’m just really sorry that the film is not in the original on the internet. I was forced to reduce and remount the film for European television. This had to be done in connection with the financial demands of the film market. However, my first installation, which was shown at the Berlin Festival, is dear to me.
“Miss GULAG” is my first piece, and like my first love, will stay with me forever, because it was my first world premiere at an international film festival.
Azerbaijani science fiction writer Alexander Khakimov, wrote 13 books, played in 7 films and periodically performs with concerts, masterfully playing the bass guitar. What a fantastic combination!
The M.O.S.T .: Why did science fiction become your favorite genre?
Alexander: The very first book in my life, which I read at the age of six, was “Star ships” of the great Russian science fiction writer and scientist, Ivan Efremov. In this book, cosmos and dinosaurs intertwined intricately – something that I continue to love so far. At nine years old, the Strugatsky brothers entered my life (with the story “The Country of the Crimson Clouds”) and stayed in it forever.
First of all, I am a WRITER in general, working in a wide variety of genres; but the label of “science fiction writer” firmly stuck to me. At first, it upset me and I resented it, as if people value just part of me, and not all of me as a whole. However, later I reconciled and decided not to insist that I am a WRITER. Do you know how many writers we have now? More than readers! Almost every third or even second, proudly calls himself a “writer”, completely losing sight of the fact that such a title is earned afterwards, with blood, tears and bile for many years, or even decades, and this demonstrated you have a literary gift.
In this case I recall the famous American writer, the «king of horrors» himself, Stephen King. Once, at a party, a man came up to him with a glass of wine in his hand and said: “Do you think yourself to