Let’s be honest — when you think of Dubai, you probably picture supercars, sky-high brunches, and at least three NFT conferences happening at once. But this year, something refreshingly unexpected is arriving in the desert: Russian Seasons Arabia. Part culture festival, part business summit, part beautifully curated chaos, it is bringing Russian and Middle Eastern creatives into the same (air-conditioned) room.

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 now includes tech accelerators, fashion competitions, and philosophical debates about cultural code. We caught up with her to talk about identity, innovation, and why tea ceremonies might just be the universal language after all.

— Could you tell us how the “Russian Seasons” project came about and what has happened over the past 10 years?

— It is true — this year marks the 10th anniversary since the project launched. Back in 2015, we had the idea to create a festival. At the very beginning, we focused on crafts — that is where it all started. At the time, it wasn’t a popular topic. In the fashion world, there was a pretty sharp divide between aesthetics and craftwork, which was often looked down on.

But even then, we had this idea to “marry designers with artisans.” That is how we began — with a roundtable at a hotel in Moscow. That was our first event. We brought together craftspeople, designers, experts, businesses, and journalists — what seemed like a strange mix at the time. Among the attendees were the CEO of Khokhloma Painting, Mikhail Kusnirovich [founder and president of Bosco di Ciliegi – The Sandy Times], Denis Simachyov [Russian fashion designer – The Sandy Times], Bozhena Rynska [Russian journalist – The Sandy Times].

At first there were speeches, but then a heated question came up and a real discussion broke out. People argued, then laughed, kept talking — no one wanted to leave. That was the beginning. Then came a competition for young designers, who started collaborating with factories. Gradually, the festival gathered momentum and professionals from the fashion industry began to join in.

Later, we started moving away from purely craft-focused themes — adding fashion, interior design, architecture. Cultural code manifests in everything: in daily life, in visual environments. Eventually, we began exploring innovation — projects started to emerge at the intersection of fashion and technology. We even created an accelerator. It turns out that every five years, a new direction emerges within the project.

And in 2025, we are launching an international festival. We are scaling up the project we have developed in Russia and taking it global. That is a completely new experience for us.

— How did you end up in Dubai, and how does the idea of Russian identity fit into an international context?

— Business is often intertwined with personal growth and inner searching. The idea of going international first came to me about seven years ago. I was in Dubai and noticed how incredibly international the environment is — over 200 nationalities are represented here.

That is very inspiring. Dubai is a young city — it is growing right before our eyes — and people from all sorts of cultures are part of that growth. It creates a safe space where you can openly share your cultural identity — and at the same time see and understand others.

That became a turning point for me: we represent Russia, but we are also inviting people from other countries, engaging with them as equals. That is truly inspiring.

— And at the same time, you are preserving the identity of Russian cultural code?

— Yes, and that is a really interesting observation. In a multicultural environment like Dubai, you actually start to feel your own identity more acutely.

For example, in Dubai many people wear national dress — and it is incredibly beautiful. Recently, my family and I were at the races, and there were people in stunning traditional attire. It isn't just fashion — it is a way to express their culture.

— Speaking of cultural exchange between Russian and Arab cultures — how do you see that?

— I am not a cultural scholar, but to be honest, I don’t see a strong and obvious connection between Russian and Arab cultures — at least not compared to some others. But I do feel that the cultural codes of many countries are surprisingly similar.

Take, for example, the tradition of tea ceremonies — you find it in Japan, in Russia, and in the Arab world. It is about hospitality, warmth, and attention to detail. Or embroidery on white fabric — visually, that motif repeats in many different cultures.

— What can we expect from “Russian Seasons” in Dubai this year?

— This year, we are holding a pilot version of the festival and trying out different formats. In Russia, we have developed our own signature style: events are heartfelt, minimal, and beautiful. We want to keep that same spirit here.

We won’t be following the usual local networking formats — that isn’t our way. We are putting together a business programme in an informal setting and inviting interesting speakers — people who already have projects in the Middle East. Many are Russian-speaking, but part of the programme will be in English.

There will be a brand exhibition and a competition where participants reinterpret their country’s cultural code in a contemporary way. It isn’t just about Russia — we are open to dialogue and collaborations with other cultures.

— What is the main issue Russian entrepreneurs in Dubai are facing right now?

— One of the key challenges is the difference in business culture. On one hand, Dubai moves very fast, but on the other hand, building relationships here takes much longer. At first it is frustrating, but then you realise: there is no use fighting it — you have to adapt and tune in to the local rhythm.

— And what questions do people from the Arab world have about Russian entrepreneurs?

— A common one is that Russians tend to stick to themselves and live within their own communities. There is a perception that they aren’t open to international collaboration. I think there is a lot both sides can learn from each other.

— Tell us a bit about yourself. How did you come to be involved in a project connected to design, crafts, and architecture?

— I think it all goes back to childhood. I am very visual, but I have always loved books too. I read constantly as a child. I got into the philology faculty at Moscow State University thanks to winning a literature competition.

Later, I worked as a journalist, including as a war correspondent. But at some point, I took a theatre course at the Praktika Theater — and after that, I quit my job and created my first clothing collection. Even though I had never done it before, it started selling. That is how it all began.

It was also then that the idea came to bring artisans and designers together on one platform. I felt it was important — a trend that was just beginning to emerge. So we started developing it.

— Are there any designers, artists, or brands that inspire you right now?

— I love crafts. For example, Krestetskaya Strochka [brand based on a unique craft of needle embroidery that is rooted in the 19th century — The Sandy Times] — it is a brand with an amazing combination of tradition, handcraft, and modern marketing. Their store in St. Petersburg is one of my favourite places.

Globally, I really connect with Jacquemus. It is a young brand with strong energy, built around the designer’s personal story — and that comes through.

One artist I recently discovered is Samira Abbassy. Her work combines a naive style with dark themes — very powerful. There is one painting of the god of death that especially struck me. It stirs deep emotions.

I also recently travelled to Sri Lanka and discovered the artist Sivasubramaniam Kajendran. His paintings reflect the pain and fragility of the Sri Lankan people, the legacy of colonization. Visually stunning and emotionally profound.

I also admire Katya Medvedeva and Maud Lewis. There is a special vulnerability in her story, yet also an inner strength. Her journey is an inspiration for many.

From Russian brands, I love Vereja by Igor Andreev — visually and conceptually, it is a very strong project.

— I have one final question. If you had to describe Russian Seasons in three words — what would they be?

— Vision, values, and community.

Vision, because the project is always evolving — from traditional crafts to fashion, to tech and innovation. I believe vision isn’t something you invent; it is something that finds you. And without it, nothing meaningful moves forward.

Values, because they define how we work and connect. Respect for heritage, openness to innovation, curiosity about other cultures — those are our core principles. Living in Dubai, you see how shared values bring people together across very different backgrounds.

And community — not just a group of like-minded people, but a living, creative network of designers, artisans, innovators. We felt that energy at our very first roundtable, where people from totally different worlds came together and didn’t want to leave. That spirit has stayed with us, and it is what drives everything we do.