Russian Seasons Arabia: Where Cultural Codes Meet the Future

The first international Russian Seasons Arabia festival is set to take place in Dubai on November 27–28. We spoke with founder and president Daria Matsievskaya about cultural identity, innovation, and why her ten-year journey feels like raising a dragon.

This November, Dubai will host the debut of Russian Seasons Arabia, an international cultural festival uniting fashion, design, technology, and open dialogue. The program rests on three pillars: a business program with experts who work across the Middle East, a curated exhibition that unites designers, artists, and artisans — from Russian labels and Middle Eastern creative entrepreneurs to independent voices on both sides, and a competition that reinterprets cultural codes through contemporary lenses.

The competition’s shortlist will be presented from October 15–31, with the winners announced on November 27 during the festival. Across two days (November 27–28), guests can expect public talks with Russian and international speakers, showcases from emerging and established brands, and conversations about market specifics, export opportunities, and collaboration in the region.

At the helm is Daria Matsievskaya — founder, president, and all-around force behind Russian Seasons, a project that started in Moscow with a love for embroidery and has since expanded into accelerators, festivals, and cross-cultural explorations. We caught up with her to talk about ten years of building Russian Seasons, the leap to Dubai, and the role of creativity in a globalized world.

— Could you tell us how the “Russian Seasons” project came about and how it has evolved over the past ten years?

— It is true — this year marks our 10th anniversary. Back in 2015, we had the idea to create a festival. At the very beginning, we focused on crafts — that’s where it all started, even when it wasn’t a popular theme. We wanted to let designers meet artisans, which led to our first roundtable in Moscow, bringing together craftspeople, designers, businesses, and journalists. It was unusual at the time, but the energy was so alive.

Over the years, the project grew: first competitions for young designers, then collaborations with factories, later themes expanding into fashion, interiors, and architecture. We even launched an accelerator at the intersection of fashion and technology. It turns out that every five years, the project naturally shifts into a new direction.
To me, Russian Seasons feels like raising a dragon — magnificent but also heavy, demanding constant growth. The hardest part is always the transition between the old and the new — when one stage has ended, but the next hasn’t yet appeared. That “empty” moment is painful, but it’s also the space where something new can be born.

— Why bring the festival to Dubai?

— The idea of going international first came to me about seven years ago, when I noticed how incredibly diverse Dubai is — more than 200 nationalities live here. It is like a modern Babylon, a safe place where you can share your identity while also learning from others.

At first, when we began preparing Russian Seasons Arabia, I would fall asleep every night with one phrase in my head: “Madmen in the desert.” I kept asking myself: “Why Russian Seasons in the desert?” But then the creative community of Dubai responded so warmly. Entrepreneurs, journalists, influencers reached out, saying: “We need this. We are culturally hungry.”

I must especially thank Lara Palmer and Alexey Kiselev — they were among the first to support the project, sharing contacts and spreading the word. It was like falling — and realizing someone had caught you. That support gave us the confidence to keep going.

— What can we expect from Russian Seasons Arabia this year?

— We are holding a pilot version of the festival and experimenting with formats. In Russia, our events have always been heartfelt and beautiful, and we want to preserve that spirit in Dubai.
There will be an exhibition of brands, a competition where participants reinterpret their cultural codes, and a business program in an informal setting with speakers who already have projects in the Middle East. Some talks will be in Russian, others in English. And of course, we are open to dialogue — not only about Russia, but about cultural collaboration more broadly.

— Can Russian Seasons be seen as an initiative of cultural diplomacy?

— Yes, absolutely! Cultural diplomacy is often associated with state-led initiatives, but it can also come from private projects. At Russian Seasons, our focus is on openness — greeting each other, showing our culture, and discovering shared values.

Creators everywhere — whether in Russia, the Middle East, or elsewhere — share a drive not to destroy, but to create. That, I believe, is the true foundation of cultural diplomacy.
And since this is World Arabia, I’ll mention: last year, World Arabia and DZC launched a ranking of entrepreneurs. This year, we are continuing that idea at our festival with a ranking of cultural entrepreneurs — designers, curators, innovators who shape cultural life.

— How would you like the Arab audience to perceive Russia through this project — and vice versa?

— Of course, the very title Russian Seasons Arabia suggests Russia coming to Arabia. But for us it is about dialogue, not representation.
One of the traditions that inspires me is the majlis: people sitting together, speaking openly. Too often, people build inner fortresses and project stereotypes onto each other. But when you sit down face-to-face, you realize how much you share.

For example, Inloco Gallery and Dr. Khaled Alawadi created a project about sikkas — traditional alleyways that shaped community life in Gulf cities. It revealed layers of Emirati everyday culture that deeply moved me. To balance, we also showcase Russian voices, like abstract artist Ruslan Gudiev, whose visual language transcends nationality.
This is the kind of exchange we want — not formal showcases, but mutual unveiling.

— What role will new technologies — AI, Web3, virtual fashion — play in the future of Russian Seasons?

— For us, technology is a tool. It depends on how we use it. AI, in the right hands, can enrich creativity, offering new forms of beauty and self-expression. I don’t see it as the opposite of craft. On the contrary — it can enhance craft, give new life to traditions, and allow culture to express itself in new ways.

— Finally, what advice would you give to young designers or cultural entrepreneurs searching for their cultural code in a globalized world?

— My first advice is simple: do it. Don’t wait — start creating.

Globalization erases differences, but it also creates hunger for uniqueness. People value authenticity more than ever. That’s why projects that preserve or reinterpret cultural codes feel so powerful.

For instance, among the standout entries are a capsule “Echo” by Kira Orlova from St. Petersburg, reinterpreting Kaluga embroidery and childhood memories, and the musicians Hodila Izba, who weave folk with jazz and electronic music.

These projects show how personal stories can become universal.
So my two pieces of advice are:
Create, experiment, make.
Don’t get lost in too much external noise — find your own voice.

Because even if the world feels full of strong brands, your voice may be exactly what is missing.