festival that's just it, and deglamurization, when the growing student political movement, yes, it involved both filmmakers and the festival. it just stopped at some point, because they were protesting against this very intervention of the sixty-eighth year, when directors hung on the curtains in cannes, trying to disrupt the next film screening. in general, it was like that. yes, it succeeded. the festival itself was canceled because left-wing art, including in europe, of course, they had their own view on what such leftist art and often he opposed the soviet union it was a different direction of leftist ideas, they won, then and in general, the youth revolution. it was a revolution about justice for, as it were, some basic principles. e work with the state. yes, for independent trade unions for working hours, and so on and so forth, including for getting into the festival, and films made outside the studio system. outside of commercial a

filmmaking about people ordinary people. e something that would be done using the newest, but cinematographic forms in general. this is a very important moment, which is directly related to the history of the moscow festival. after all, what happens in the post-war years. we know that vladimir ilyich lenin said that cinema is the most important of the arts, which he meant that this is the most massive type of art with which you can convey some ideas to all segments of the population, as it was actually conceived by lumiere a. and other inventors of cinematography, and after the war years , cinematography is quite complicated there are directors who openly declare that they are the authors that they make complex films that are not intended for a wide audience and the festival is an ideal platform for showing such films. well , as a matter of fact, we all know them, this is feeria antonione alain, a wonderful french director godard. and whose films in the sixties were becoming more intricately layered? uh, a little bit of other

european masters, and festivals are just becoming the venues where these films are watched, discussed, criticized, scolded, praised, and in general, these films pave new paths in the art of cinematography. the directors of the whole world are guided by them, they are inspired by them, they take some tricks that they spied on in such, in fact, experimental works. and the moscow festival in 63. it just becomes the place where serious disputes flare up around the film federico fellini 8.5. this is only the third festival and, by the way, it must be said that it is just for the mass audience, maybe it was not originally designed for it, but massive spectators. just a shaft knocks on the moscow festival. this is a very important part of cultural life in general, not only in moscow but also in other cities. where these films then go and often the audience of the moscow festival in the sixties does not know.

in principle, what he will watch, uh, season tickets are bought in advance, and then they are exchanged, it's all a little bit, such work at random, but the audience does not know anything about what a category is, and the festival category for them any foreign film is already a novelty, and for the director was very important. and in general, like a classification of world festivals. this is how it is arranged that only the festival where the premiere of a particular film takes place for the first time can have a category a, that is, an important condition should be that the film is not to be watched anywhere else. well actually , as today we know that the premiere will take place in cannes. this is because, firstly , the festival of the category, and secondly, everyone aspires to go there, thirdly. uh. in general, as it were, this is already such a standard. well , that wasn't the case in the 1960s. it's just is born appears, so we can easily imagine that someone has already seen 8 1/2, but not seen by moscow viewers. and now he enters the competition. of course, federicophilia, we don’t already know him from the film.

the road, for example, and we already love him in general, nevertheless, for the jury, even this film became very problematic and caused a huge scandal, which we fortunately know about, because that year the jury was a wonderful director and subsequently a memoirist grigoryevich, his land, chukhrai tells how fate was decided the main prize of the festival, because, of course, the jury members wanted to give this prize to the fillini, but we said that soviet cinema is a very important part of the moscow festival. yes, and he also watches soviet cinema and it was assumed, at least to the departments of culture by the propaganda department of the central committee, that the soviet film would take the main prize. that year it was some kind of completely orthodox socialist film called meet the spoil, and viktor komissarzhevsky is no one about him now can't remember except

of this scandal with fellini, because she was set to give a prize to the film meet baluev and the jury, in general, rebelled; moreover , the chairman of the jury himself, grigory chukhrai, rebelled. he said that he would leave all his posts if, against the will of the jury, and there already half were ready to leave for their own country without waiting for the award. and if, against the will, the jury does not give the film a filini, the prince, a scandal is brewing grandiose absolutely yes, and in the end , all the same, chukhrai and the jury members. defeated filin got the prize, said from the stage that this is especially important for him, the most important principle, because he received it in the soviet union and to some extent the situation was saved, but in the following years it became customary that three main prizes are awarded , one film in the soviet union, another film of the capitalist countries and the third a film from the eastern bloc or from one of the asian countries of tinsk america i remind you that this is a podcast

of eisenstein's witnesses where we film historians natalya ryabchikova and stanislav divitsky talk about who and how created the classic forgotten cult unknowns soviet films and how they were watched, today we are talking about this exactly how the moscow international film festival was held in the classical years of its existence recalls a very characteristic story of a dispute with one of the jury members, oh, which, uh, he had when they discussed the film for a couple of days on the flight, the content of this film absolutely eluded the foreigners, because they did not understand. what is the collision. why one of the main characters in this film, a truck driver , cuts off the road when he drives to and from the station logging in the regional center. that's why he drains gasoline in the taiga. after all, it is meaningless to explain for the sake of the premiere in order to receive a socialist premium . but what a big prize there is is practically

symbolic for your money. well, why does he do it then? well, that is, in general, but for foreigners absolutely slipped some realities that were familiar to the inhabitants of the soviet union for the viewers of the soviet union, and they really just sometimes did not understand the logic of the characters' actions. and therefore, in fact, this film caused some kind of some scandal. let's see, in fact, an excerpt from it, the main role is played by alexander demyanenko, a journalist who comes to write an article about this state farm. so he discovers this property a secret from poured gasoline. you see how much you know, nikolai handwriting about you, i have almost finished will be called ultralespromhoza nothing, huh? you know, i'm sure that not only someone could write, what are you thinking about today, but also what you will think about, tomorrow the day after tomorrow, what when will

you go home to moscow now soon? remains only artistically explain how you manage to achieve success. ride tomorrow. and tomorrow i say, go collect the fact and flutter from here, otherwise look, the wolf will bite. you don't take trouble. ride. here, after all, the chukhra, apparently, managed to find compromises. the film was given a silver award. in general, it must be said that there were a lot of prizes at the moscow classical festival. here are three main prizes, then another for an actor and an actress, and another silver and some other minor ones and, uh, a special prize from the organizing committee and a special prize from union of some professions and smaller ones, and in general, the complete list is quite

significant. and this actually reduced the value of the prizes of the moscow festival, because if everyone receives awards, if friendship wins, then it turns out that they did not win. no one is nothing crap, just again, in his memoirs, he notes that after the story with the filine from the film eight and a half, the prestige of the moscow time festival in the world began to slowly decline, because for soviet cinema, by definition, a soviet film is better than all non-soviet films, therefore, it was impossible not to give a prize, and it was also difficult for one of those soviet films that participate in the program. i think to explain. foreign guests, by the way, one of the first soviet winners even before the scandal with fellini was, in general , a film that still remains a classic of soviet cinema - this is a film from sergei bondarchuk the fate of a man. it seems to me that you can watch this fragment to see. and what did the moscow audience watch then, and what did the jury judge at the moscow festival? vanyushka do you know who i am?

yes, i am your father. you will find a dear one for me , a dear one is coming for me. sergey muddarchuk e was frequent. well, you can say a frequenter of the moscow festival, because his film war and peace was also one of the participants in the program and it would have been a colossus one of the main films of the sixties. and in general, when chihraya says that festivals are losing their significance for the big world a little, nevertheless , in the soviet union it turns out to be more and more important, because for the audience it is

such a window to the world, thanks to which the audience opened themselves to world cinema. and in general it cannot be said that the festival was just like that, deprived of the attention of the stars. here, of course, fucking exaggerate a little, for example, and at the end of the seventies, significant events took place when francis ford cola, the director of the film, the godmother, the conversations of many others , bring their hottest novelty to the festival. the moscow film apocalypse of our days or apocalypse today, he brings a version that has not been seen in another world a version that has a different ending, where is the main the hero refuses the wreck of the murder and simply throws the knife away, refusing this fate, which the circumstances themselves impose on him. yes, he does not kill the colonel a little bit, and the very bivalence of this tape was somehow clearly demonstrated precisely at this session, that in general this film could have such an ending, but it could have been different and this did not affect the artistic fabric as a whole the film has changed in perception, but

the impression that the audience received has not changed. in the eighties, this is the peak of the moscow festival, because after e many years stagnation in the soviet union begins perestroika and at the end of the eighties is the next festival. where absolutely all the stars converge. well, no, everyone, of course, but a lot of big names are coming . robert de niro is coming. well, a lot of different stars. depardieu marchela. the mood was for some absolutely incredible festival in 87. when , indeed, the transformation of soviet aggression by some kind of aggression after the fifth congress of the soviet mitro fists, after the release of many milk films, there is an incredible interest in what is happening in the soviet union , including in the field of cinema, and this year one of the notable films of the festival was the film courier. we have a small piece. you can see. what was the feeling then of the audience of this film? see. everything

is taken with hostility, everything is made into a performance of buffoonery, elevated to the principle we do not need anything. we all know this is a fundamental question. i, our generation wants to know for whom we lived and fought. the building we erected. and what, actually worry, it would be curious to know the young man those principles. according to which you are going to exist in the most uncomplicated society, i would like to have a decent salary , a car, an apartment in the city center and a cottage in its vicinity. and even less work. well, the material good is necessary in this there is nothing warning. in general, this is one of

my favorite fragments from this film , it is so vividly shown there. this is the difference between generations, a generation that knows all the words, but we see the emptiness behind them and the generation that is new, which is trying to break out, including from under the power of these words from under the power of this generation of the previous and, in general, declares what it wants, but it declares it frankly in this sense, films become like such a window into reality. yes, it's not just a work of art. this is an opportunity to see the changes that are taking place in society. we sometimes forget that this is not just a work of art that is created in a vacuum. yes, this is something that somehow reflects the moment in which the film is being created, even if the plot of the film is actually not at this point yes, therefore, the text is cosmic important, because very often the moscow festival today is criticized for competitive films, which i well, or often do not

correspond to, but to the level of a critic who is accustomed only to a masterpiece of world cinema, and love festival in fact, this is a selection screening out, because that's the crucible that has to go through, and the scores, and with the jury of the audience, and the film before someone decides that this is really a masterpiece or not a masterpiece in the nineties. the moscow festival is also undergoing russian cinema in general, but turbulent times, because, in principle, this east-west dichotomy is disintegrating. and at some point, we move from a festival every two years to an annual festival, because we don’t need to look at karlovy vary anymore, but not very clear. what, let's say , domestic films can be shown, because in the early nineties, at least , not very many of them are being shot. and at the same time, new festivals are born , the moscow festival no longer competes with the worlds of festivals within the country, because appear on the taurus of the nineties appear there, a film shock and in the end. eh, the festival

is reoriented in many respects already to the asian cinema, for example, there is muddy. yes , very often there are strong programs dedicated to asian cinema, in principle, this is openness, and post-soviet russia to the world, including from the point of view of festivals, for the moscow festival has become a little bit. an added complication because now the big films could get into the big festivals. yes, we have such a group directors. well, for example, and pavel lungin can be remembered, who often worked in production in the nineties and some films he came across various european festivals and already this is the right of the first show. yes, and compliance with the parameters of the festival class, and the moscow festival could no longer participate in this, while the fact that we really have the opportunity now to watch anything , anytime, or rather, we have such a feeling. the most important thing is that we have the feeling that, in principle, everything is available to us.

this feeling, uh, began to appear with the advent of video cassettes, video rentals of video salons, then disks , computers, streaming, and it seems that, in general, we don’t need to specially go to some event that takes place once a year and watch a certain selection of films there, which someone selected for us, it seems that well, why, but at the same time there are a lot of films. it just never hits, neither in streaming, nor in rentals. and we will never see them. these films. just like the soviet audience. those who missed 8 1/2 at the moscow festival in the sixties didn’t see him at the box office, so here we don’t know what kind of masterpiece we will see today or tomorrow at the festival and whether we can watch it later when he tells the experience, uh, visiting the moscow festival has always been over the past 20 years and has always been the lottery. you never really know. you only have an abstract in your hands, maybe something and say the names of the creator or the authors of this film, but you

never know what you are facing. sometimes it happened. i would just like a sharashina from some films. eh, but this indeed, such a lottery happens every 10-20 films. by the way, i said that we have a feeling that we can now look. and that’s all, but often it’s difficult for us to do all this at the same time. actually, yes choose here we choose at random the festival is good. also the fact that there is really a certain person who really selects films. and here are the programs. this is something that is very important at any festival, including the moscow one. over the past 15 years , you could always go to any documentary film program, because she, going for quite a long time. it is assembled by wonderful professionals. it really is cream. you can't go wrong with a documentary program or a retrospective, yes. and there was a retrospective for a while. the same dmitrieva yes vladimir dmitrieva from samo. yes, when we look at films, let's say

from e soviet cinema, which passed by the big screen, or have we forgotten about them, or are they so shelved? yes, they don’t even get on television. the photo has its own festival. yes, which used to be called white poles. i now call the festival of archival films, and in this sense , another root competitor has appeared at the moscow festival, and in general, its main task in the future is to reinvent itself. yes, and time will tell, and it was a tackle by einstein's witnesses and we are his leading film historians natalya ryabchikova and stanislav dizensky, we are talking in this podcast about who and how created the classic famous little-known cult soviet films about how to better understand them now and how to get maximum enjoyment from them. goodbye. thank you goodbye.

hi all. my name is tatyana gevorkyan, this is a podcast of a stupid shit and today we will talk about fashion as an industry and as a social phenomenon. my guest today is a journalist, blogger and a person who is truly passionate about fashion arina kholina designer svetlana rodina hello girls hello, joke, girls. hi can i just say. hello girls, let's start right from the beginning, how trends are formed, who invents them, who dictates them, or they or they are borrowed from some that existed 20 years ago on about color trends. there is such a brilliant classic story, the tenth sixties. well, in principle, to europe, here is europe just in the post-war crisis and in cognac, which we know of cognac . of course, we called the armenians, then they, uh,

suddenly asked for a dramatic drop in sales, but it’s almost desperation and someone from well from some kind of finite company had some connections with a fabric factory and a person comes up with such a story and persuades this fabric manufacturer. well, in principle, the fashion industry is also not on the rise. at that moment, yes, the whole economy in europe was destroyed. so in general, he didn’t care that the gray fabric, that the fabric is your strong point. they, in principle, took some more or less their own brown fabric. they called this light like cognac accordingly, they persuaded some diors there conditionally, yes, to lead this color and cognac just happened. well, first of all, it was very fashionable to be in cognac color, that is, brown clothes, and some incredible growth turned out. just phenomenal they raised themselves again to super height. well, uh, again, when it appears now, there the color of champagne is now maternal yes, an observation according to this scheme, and

because we really have a designation of colors in russian. they are what they are, and in english they have the color cognac. they have color, camel, they have champagne very camels. so far , these magazines of ours were still there and are not used once a month. and like, oh, the trend of this week again , surprise, the color of champagne went to the colors of champagne, for example, we watched today. you have the color of champagne flower and camel. at your place cocoa typical, yes champagne more. this is where the designers would probably call it. what is the name, intelligence me necessarily ocher, and ocher. yes, i have cocoa. yes, this is more crucian, like ocher pigments, but i know a little about what i wanted to add, which, for example, is amazing in russia. there are crafts and lace.

yes, and embroidery and this russian craft, i want to say that , for example, when we presented the first collection in japan, then japan, for example, yes, beans there they had such a beautiful woman because they adore the traditions of our actually. why are we taking so long? this is the post-soviet time they denied what? no, no, no , we are not russians. oh no, not here somewhere russian speech, heard abroad. we are all encrypted. we are all under them. this is disgusting, because in fact we have amazing roots , we have incredible traditions in russia, and actually, just the idea is to take from there, and that experience. really global, because, well, it’s a sin to hide in france, uh , there was fashion in italy, and there really was fashion in america, but we, for example, now there are those people who are not in fashion for us, in general, now we are on our own, we ourselves are so cool well done, which is also wrong that they have a lot of things that can be adopted by adapting for us, look now there has been such a trend. you all remember, we remember everything, plus or minus, the end of the nineties. yes

, the beginning of the two thousandth trend for sexuality , feminine silhouettes are things that you, too, once find in your wardrobe, are old. they seem to be two sizes too small. and now the fashion is oversized oversize is convenience. this is a bodysuit, does this positively mean that a woman began to dress for herself, and not for men, that is, now they are less trying to emphasize sexuality. you know, it seems to me that just now, firstly, everything has returned some kind of corsets. even another cover. that's what you said, it's not only we got fat on the topic yes, well, in general, yes, you really already start wearing some kind of larger one, at least a t-shirt and then you don’t understand how it sticks so-so in the armpit, but a little different. main material another. he has almost all the material now about the meeting. it is more comfortable breathable and the technology itself materials, if they are semi-synthetic there, uh, they are very comfortable

in a different way than the same clothes of the nineties for example. and listen, well, firstly, since the nineties it was already kenneth there, then the universe came. uh, were the japanese kabakuba and condorson? this is generally a separate story. this is such a story, how were the belgians too, right? well , look, it's still a lot, so it's not really something wild right niche, when it was called smart fashion yes, now it's, well, somehow different. we are in connection, and, firstly, it depends on the tissues. if only she was such a hoodie for me. some kind of translucent from some kind of veil, i don’t know felt wool, it would fit differently and show sexuality to the body, in general, this is not about over or slim, here, uh, here i will hold you for sure. yes, it's just that men don't take part in our conversation. i think they would be talking about oversize as they were looking for it. i want to say something on the contrary, well, even posting. yes, if you take, then,

for example, the larger the over thing. those for example, a woman looks more feminine in it. realistically, for example, a woman. look do not go there, famously thin fat. everything is in the head. tan, well, that we are here already, all this is only tall and thin. and that's just high. or it may be that it turns out that if the trends are dictated by designers, then let's say. i love auvers very much. this is of course, after all , they also suddenly realized behind it, for example , during the pandemic, what about, but how convenient it is to walk. let's go ahead and bring this trend to life and we'll just wear it all. i think that, most likely, of course, also a social manifestation. everyone was at home. remember at some point, surely you know there was a surge, after everyone went out, everyone went in sweatpants. e in such at home. yes , it's so convenient and really everyone understood that you can, like, not meet every day. you can spend there like on zoom, if you started to appreciate the time of communication, there is something else yes , and things, including, i think, then everyone

got tired of it and feathers appeared, food, too, you understand, yes, how it works the same as at some point, for example, as after pandemic, for example, the color of ponton was the main one, it's gold with bright red in such, you know, uh. uh, sequins combined, near the wild amount and you know how it is, for example. uh, trend bureau. e, for example, described how the explosion of lava was like an avalanche came out so people came out, like, you know, now the conclusion of the feeling was that everything was really great. bright super. brilliant brilliant, yes, that is, it really was. a holiday like this, when you know everything, the same confinement came out over well, look how great it looks. take the same one there gigi hadis was, yes, and thin waists, low rises are super, overjeans are some huge dicks, and i think it's super. uh, well, it's a reflection of all the strange phenomena of federal political phenomena. yes world. well, as far as i remember, here. uh, very cool to the whole world with

promoted then by a vetman, uh, vassal she came out in this kind of down jacket. here a down jacket went somewhere in the back. well, its somehow a cut. there, of course, some kind of bra stuck out, what is it? she looked incredibly hot in it, so look at about who we dress for and that's sexy. look, well, i think that when people i make a big mistake to say that i 'm out of fashion, even if a person runs back to the darkest corner, and they really try to create there, maybe you just get a personal personal uniqueness of style. we live, in general, the space cannot fail to reach even the fact that you come to the store. and, for example, there will be jeans, there will still be up to 20 styles, but they will all be in trend. well, or teach, yes, but still you will evoke it further. here, let's say the nineties was still a topic then, especially in russia, that all women are conditionally speaking, there, at the age of 20, in principle, it doesn’t matter. this is the enrichment of the rich. well, the task is to get married.

she, at least, shimmered. and when you, for example, well, wait, no, when you are from twenty to twenty-five, you really feel the obligation to get married. well, preferably not quite for the bastard and loafer. yes, i'll surprise you , nothing has changed. it's very arguable that everything has changed. so, in short, naturally, if you have a super task, you trying your best to reach it all at once. ways. what are the trends that have emerged over the past year? well, over you yourself said over a long time ago. well, you know, it ’s either bigger or smaller, because the corsets were not, i don’t mean, you know right, that’s all the same t-shirts are corsets. well, like, when it's just sewn under a corset, well, that is, a silhouette and pseudo. well, let's say so. yes, so to speak. yes, my personal pain is what is gone. uh,

low-waisted jeans are back. here is a low waist, which was returned everywhere. i'm low waist now as i have always loved, just bare living with you like this, just like it was right in the noughties. yeah, i believe me, i went to college. i had jeans with a low waist, and in the winter 20's and a short jacket. i walked here with a bare stomach at -20 as a child. everything was different in my youth now. well, nothing comes back in the form of a dictatorship. now they are returning again. i don’t know where they went, but conditionally. yes, then, in the fact that there mom is again happy about this break. yes, people are already tired of chasing trends. and in general, many designers rely on the basic wardrobe, so fashion as a phenomenon representing new trends every season. it’s already somehow a little outdated, doesn’t it seem to you that fashion, as a phenomenon, on the contrary, is even more relevant, because motov, in principle, is such, but

something, if we take the fash industry as a reflection of social reality and designers who analyze how analysts , yes, fashion trends for the year ahead, because a collection for buyers enters the fashion market for the first time, that is, yes, for experiments further for a month already with retail in another it’s been put on the market for half a year, but now designers are really working on a collection, and next summer there are already people for whom clothes are utilitarian, in principle, there’s nothing wrong with this series, i don’t know, i bought jeans and made some kind of jersey to it was warm. and some part there are people that we are not about fashion, we have you own unique style. it's not obligatory. what kind of bohemia do you have creative professions. here is a girl tave was a superstar of the zero who draws lived in some kind of deaf e american village, and she was picking up some junk for them at the local second-hand shop. so it stylized that literally 2 years later she was already called to the shows by anna winter yes, the editor-in-chief of the american volga

, that is, there is such power, such power, and people are in the middle. that is, in general, in my youth, i can’t beat these on the contrary and rave and they create their own. and there are people who want to look somehow strong in terms of such and such a time. yes , they have some time for such and such a season, but if they are ready to give, she has certainty to pay attention, there to shops something there somehow to force itself. there read stylists that combines some color. well, at the same time, they do not have such an obsession and they need fashion, because it is personally understandable, it is easier for them to navigate specific trends. and here's fashion. she will never leave this concept, because i'll bet the same. well, of course, i would now think that there are a lot of people who need fashion. well, wait, but now everyone is quite conscious of the wardrobe. if you need fashion, you i have to update my wardrobe twice a year, because it’s wrong for me tanya because if you relate, for example, to

fashion, again, i will always bring it to some conscious level, where a professional designer. i'm not saying now, for example, those designers also want to be part of the industry, yes, who are just starting this all part of our beautiful fashion industry, beautiful creative, and yes, the team, but if you take the industry, it should still be, as artists know. and the same matisse semolina wang has everything. it was classical education. before you indulge in all the bad things. you have to learn the basics of a basic wardrobe. why because, so that it doesn't work out just like this, like green blouses with white trousers. it's fashionable to do everything together, because if a designer works according to archetypes, and this is taught only at universities. yes, design ones, because i, as an artist by education of a classical artist, ended up planing an artist, a designer - these are absolutely two different things, respectively, if we take it as an industry, why will i always give birth to myself for the classics , because only then will

fashion develop like in paris, because there any respected designer will never start , without practice with something now argued, nikolaev simply explained. look, green blouse. isn't this how it's done, what 's fashionable or not consumers pro people? and we are talking about the image about the one that the channel designer makes up that here is fashion through consumers, it’s all the same, it ’s fashion fashion that said that the designer is like times makes a brand. it's kind of fashionable that it's not. we are talking now about the trendy one, and only the design, the designer, the designer, or the brand that displays these brands, makes the trends, and the consumer has already arina said that it is easier for the consumer to navigate the trends, because he does not need to think what to combine with what . how to make up your wardrobe, because every season stylists explain what goes with what what colors ponton declared relevant and very simple this season, that

is, there is a road map of how we dress in this season, so arina said just that's what i'm talking about, it's not like that, after all, from the point of view of the industry, you say arina says that people's fashions, as if fashions go out of fashion, not among designers, nor within the consumer industry. what, like? well, do not know what you cutie will always remain in fashion, because follow the manual. look, you are kind of cute, if you are cute, look , the light turns out and says that the designers follow the trends, which they very clearly schematically indicate, every season. i did not agree to buy. wherein, having an academic background. look, look, i'll just finish the thought now. and this is so that i just take it through everything there, i tried very briefly, because there is real, well , depth, there is another, the assortment matrix has archetypes in the brand, for example, it’s all much deeper, that is, it’s not just that designers take clearly and there the green color is adapted. if you are shown, for example,

a presentation, where there are a million different combinations and , for example, a palette of twenty colors, anton yes, but combinations, there can be a lot and, for example, you do monochrome. i'm not a fool at all. i always love intricate intricate details and so on. why are you out of this? from these trends, you will choose something useful for yourself and make, for example, pontoon monochrome colors and a person your target audience will scan your position, you understand that those who like it will follow you, and i will scan my trends, yes, and i will do, for example, according to i’ll dress my women differently in my assortment matrix according to my archetypes, therefore it’s fashionable, if you take how like a global world industry, this is a concept that lives. uh, according to certain laws , research assortments. trend, of course. absolutely fashion is so multifaceted, like a 3d puzzle. understand? that is, she immediately formulate another facet to cross now. here we are talking about fashion. what does he do? this is

the phrase when they say about a person that she is stylish or he is stylish. and what does this mean? this is not primarily about fashion trends. no, of course, it ’s human to do it, it’s just them, i’m sorry, i ’m directly respiring against me, because it’s really personal type personnel a person who really has charisma is such a clogged phrase, his charisma is independent of clothes. no, look, there is no no, why if a man of this fashion? this is generally a reflection of the inner world of a person, in my opinion a person wants to say something, and he dresses the way he feels, and in my opinion. a client is someone who knows himself very well, yes, it is necessary to develop, for example, the fashion industry, not even with a global understanding. it seems to me about every person. don't know myself in the first place in order to better understand what suits him when i came to paris m-m. i was not here fashion, as it were frozen between the seventies and nineties . and inside this there is such a kind of

fermentation against no one. in our country, you can’t imagine such haute couture, for sure. here is a high-end high-end hand sewing that is placed on the steps of architecture's living retirement. i think he has all the qualities of a young fashion designer. after all, i myself was once young, and what especially attracts in him. this fashion sense artist deals with the theme of costume dresses and most of the time bill. it should give preference to large evening. how long does one collection live , in fact, it lives until the next indication, that is, six months. i really liked the yudashkin show. i think its level corresponds to the international model. congratulations to valentine in memory of vyacheslav zaitsev. and valentina yudashkina saturday on pervy

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