Za Kseniu Mishinu, moda nije pitanje trenutka, već kontinuiteta. Njeno iskustvo ispred kamere oblikovalo se postepeno, kroz različite gradove, tržišta i vizuelne kulture, ali i kroz jasno razvijen odnos prema slici kao promišljenoj konstrukciji. Obrazovanje u oblasti oglašavanja dodatno je izoštrilo njen pogled na modu — ne kao površnu estetiku, već kao sistem odluka u kome svaka forma, boja i gest nose značenje.
Na digitalnoj naslovnici Harper’s Bazaar Serbia, Ksenia Mishina ne govori o vidljivosti, već o procesu: o energiji rada na setu u New Yorku, o telu kao formi, o važnosti strukture i jasnoće u vizuelnom jeziku. U razgovoru koji sledi, ona razmatra razliku između trenda i identiteta, umetničkog izraza i komercijalne namene, ostavljajući utisak sagovornice koja modu razume kao dijalog — između slike, ideje i vremena u kojem nastaje.
Čestitamo na Vašoj prvoj naslovnici za Harper’s Bazaar Serbia. Šta Vam je ostalo najupečatljivije nakon završetka snimanja?
Ksenia Mishina: Najviše mi je ostala energija samog snimanja. Ovo je bio moj drugi put da radim sa Alikhanom i Radikom i iskreno se divim načinu na koji pristupaju svom radu. Njihov proces nosi pečat dugogodišnjeg iskustva. Sve deluje promišljeno, precizno i prirodno profesionalno. Osećala sam se veoma privilegovano što ponovo sarađujem sa njima i što sam deo njihove kreativne vizije.
Energija ovog snimanja bila je zaista posebna. Radili smo u New Yorku i sam grad postao je deo narativa. Njegov intenzitet, pokret i kontrasti oblikovali su atmosferu na setu.
Od samog početka postojao je jasan pravac, što nam je omogućilo da istražujemo zanimljivije i nekonvencionalnije poze. Umesto oslanjanja na prepoznatljive modne geste, radili smo sa telom kao formom, fokusirajući se na strukturu, ravnotežu i kompoziciju. Boja je takođe imala centralnu ulogu. Paleta je bila smela, ali kontrolisana, i snažno je uticala na raspoloženje svakog kadra. Umesto da samo ukrašava sliku, boja je pomagala da se definišu njena struktura i emocija. Zajedno, poze i boje stvorile su osećaj jasnoće i samopouzdanja koji mi je ostao dugo nakon završetka snimanja.
Kada pogledate ovu naslovnicu, koji deo svog životnog puta u njoj prepoznajete?
Ksenia Mishina: Kada pogledam ovu naslovnicu, vidim put koji me tiho prati već dugi niz godina. Počela sam da se bavim modelingom u Firenci, gde sam nosila revije za Monnalisa i radila e-commerce snimanja za modne platforme. Kasnije, nakon preseljenja u Dubai, učestvovala sam u zimskoj kampanji za brend Splash, što je označilo novo poglavlje u potpuno drugačijem tržištu i vizuelnoj kulturi. Ti trenuci su bili važni, ali nikada nisu bili vezani za jurnjavu za vidljivošću — već za iskustvo.
Kada sam imala četrnaest godina i živela u Moskvi, skaut iz jedne pariške agencije obratio se mojoj majci i meni sa idejom da započnem karijeru u Parizu. U tom trenutku, moja majka je izabrala obrazovanje ispred prilike, verujući da sam premlada i da su fokus i stabilnost važniji. Danas to razumem i cenim. Videti sebe danas na naslovnici magazina za mene je duboko emotivno iskustvo, jer dolazi u trenutku kada u potpunosti znam ko sam i zašto sam ovde. U sebi nosi tihu zahvalnost — za pravi trenutak, za strpljenje i za put koji me je oblikovao pre ovog momenta.
Čuli smo da ste nedavno diplomirali na American University in Dubaiju, na smeru Advertising, i da ste paralelno sa studijama povremeno stajali ispred kamere. Kako je Vaše akademsko obrazovanje uticalo na način na koji doživljavate modne vizuale i komunikaciju brendova?
Ksenia Mishina: Studije oglašavanja dale su mi mnogo analitičniji pogled na modne vizuale. Više ne posmatram slike isključivo kao estetske, već kao sistem odluka. Svaka slika komunicira nameru, pozicioniranje i vrednosti. Obuka da razmišljam kroz uvid i strategiju učinila me je pažljivijom prema onome što brend želi da poruči ispod same površine.
Povremeni rad ispred kamere dodatno je učvrstio to razumevanje. Postala sam svesnija koliko pripovedanje, atmosfera i kadar utiču na percepciju. Zajedno, ta iskustva su oblikovala moj pogled na modnu komunikaciju kao dijalog između slike i značenja, gde je lepota najmoćnija onda kada služi jasnoj i promišljenoj priči.
Kada danas posmatrate modno oglašavanje, šta smatrate da brendovi rade dobro, a gde najčešće greše?
Ksenia Mishina: Modni brendovi danas su veoma jaki kada je u pitanju vizuelna realizacija. Razumeju kako da stvore upečatljive slike, izgrade atmosferu i brzo reaguju na kulturne i digitalne trendove. Prisutan je visok nivo zanatske veštine i svest o tome šta privlači pažnju u brzom medijskom okruženju.
Ono gde ponekad posustaju jeste dubina i doslednost. U potrazi za relevantnošću ili viralnošću, narativ može postati fragmentisan, a identitet brenda razvodnjen. Kada se modno oglašavanje previše oslanja na trendove, gubi emotivnu snagu. Kampanje koje zaista ostaju sa nama jesu one koje prevazilaze estetiku i povezuju vizuale sa jasnim stavom i dugotrajnim narativom.
Bodi Commando,
Cipele Britt Netta.
Po Vašem mišljenju, kako modno oglašavanje može da uspostavi ravnotežu između umetničkog izraza i jasne komercijalne svrhe?
Ksenia Mishina: Modno oglašavanje pronalazi ravnotežu onda kada se seti da se ljudi prvo povezuju sa osećajem, a tek onda sa proizvodom. Umetnički izraz stvara emociju, atmosferu i želju, dok komercijalna svrha toj emociji daje pravac. Kada ta dva elementa funkcionišu zajedno, rezultat deluje prirodno, a ne nametnuto. Kampanje koje meni najviše znače su one u kojima kreativnost deluje iskreno, gde vizuelni jezik odražava suštinu brenda, a ne samo marketinški cilj.
Kada oglašavanje govori ljudima na ljudskom nivou, komercijalni uspeh postaje posledica, a ne cilj.
Po Vašem mišljenju, šta razlikuje modnu kampanju koja ima dugoročan odjek od one koja samo prati trendove?
Ksenia Mishina: Modna kampanja ima dugoročan odjek kada je ukorenjena u identitetu, a ne u osećaju hitnosti. Trendovi su snažni, ali prolazni. Prepoznaje se kada je ideja razvijana sa vremenom i samopouzdanjem, a ne građena oko onoga što je aktuelno te sezone.
Boraveći na setu, tu razliku sam veoma jasno osetila. Kada je kampanja vođena trendovima, često postoji pritisak da se replicira nešto što već postoji. Kada se gradi na snažnoj ideji, atmosfera je mirnija, fokusiranija, a rezultat deluje autentičnije. To su slike koje mi ostaju u sećanju — ne zato što su bile svuda, već zato što su delovale istinito za brend i za trenutak u kojem su nastale.
Tim:
Model – Ksenia Mishina @kseniaorkse
Fotograf – ALIKHAN @alikhan_photography
Umetnički direktor – Radik Ayzharikov @radik_aijarikov
Stilista – Julia Golden @juliaisgolden
Šminka – Natalia Malova @nataliamalovamua
Kosa – Sergey Lozin @sergey_lozin
Asistent stiliste – Kate Simakova
English here:
Ksenia Mishina: Art of Fashion
For Ksenia Mishina, fashion is not a matter of the moment, but of continuity. Her experience in front of the camera has developed gradually, across different cities, markets, and visual cultures, as well as through a clearly defined approach to the image as a deliberate construction. Her education in advertising has further sharpened her perspective on fashion — not as mere aesthetics, but as a system of decisions where every form, color, and gesture carries meaning.
On the digital cover of Harper’s Bazaar Serbia, Ksenia Mishina speaks not of visibility, but of process: the energy of working on set, the body as a form, and the importance of structure and clarity in visual language. In the conversation that follows, she reflects on the difference between trend and identity, artistic expression and commercial purpose, leaving the impression of an interlocutor who understands fashion as a dialogue — between image, idea, and the time in which it exists.
Mules, Schutz.
Congratulations on your first cover with Harper’s Bazaar Serbia. What stayed with you most after the cover shoot was finished?
Ksenia Mishina: What stayed with me most was the energy of the shoot. This was my second time working with Alikhan and Radik, and I truly admire the way they approach their work. Their process reflects years of experience. Everything feels intentional, precise, and effortlessly professional. I felt very fortunate to collaborate with them again and to be part of their creative vision.
The energy of this shoot was exceptional. We were working in New York, and the city itself became part of the narrative. Its intensity, movement, and contrasts shaped the atmosphere on set.
From the beginning, there was a clear direction, which made it possible to explore more interesting and unconventional poses. Rather than relying on familiar fashion gestures, we worked with the body as a form, focusing on structure, balance, and composition. Color also played a central role. The palette was bold yet controlled, and it shaped the mood of each frame. Rather than decorating the image, color helped define its structure and emotion. Together, the poses and colors created a sense of clarity and confidence that lingered with me long after the shoot was finished.
When you look at this cover, what part of your journey do you see reflected in it?
Ksenia Mishina: When I look at this cover, I see a journey that has quietly followed me for many years. I began modeling in Florence, where I walked for Monnalisa and worked on e-commerce shoots for fashion platforms. Later, after moving to Dubai, I took part in a winter campaign for the brand Splash, which marked a new chapter in a very different market and visual culture. These moments were important, but they were never about chasing visibility, they were about experience.
When I was fourteen and living in Moscow, a scout from a Parisian agency approached my mother and me with the idea of starting a career in Paris. At that time, my mother chose education over opportunity, believing that I was too young and that focus and stability mattered more. Looking back, I understand and appreciate that decision. Seeing myself on a magazine cover today feels deeply emotional, because it comes at a time when I am fully aware of who I am and why I’m here. It carries a quiet sense of gratitude for timing, for patience, and for the journey that shaped me before this moment.
We heard you recently graduated from the American University in Dubai with a degree in Advertising and that alongside your studies you’ve occasionally stepped in front of the camera. How has your academic background in advertising influenced the way you perceive fashion imagery and brand communication?
Ksenia Mishina: Studying advertising gave me a much more analytical way of looking at fashion imagery. I no longer see visuals as something purely aesthetic, but as a system of decisions. Every image communicates intention, positioning and values. Being trained to think in terms of insight and strategy made me more attentive to what a brand is trying to say beyond the surface.
Occasionally stepping in front of the camera reinforced that understanding. It made me more aware of how storytelling, mood, and framing influence perception. Together, these experiences shaped the way I view fashion communication as a dialogue between image and meaning, where beauty is most powerful when it serves a clear and thoughtful narrative.
When you look at fashion advertising today, what do you think brands often get right and where do they fall short?
Ksenia Mishina: Fashion brands today are very strong when it comes to visual execution. They understand how to create striking imagery, build atmospheres, and respond quickly to cultural and digital trends. There is a high level of craft and awareness of what captures attention in a fast-moving media landscape.
Where they sometimes fall short is in depth and consistency. In the pursuit of relevance or virality, storytelling can become fragmented, and brand identity risks being diluted. When fashion advertising focuses too heavily on trends, it can lose emotional resonance. The campaigns that truly stay with us are those that move beyond aesthetics and connect visuals to a clear point of view and a lasting narrative.
In your view, how can fashion advertising balance artistic expression with clear commercial purpose?
Ksenia Mishina: Fashion advertising finds balance when it remembers that people connect with feeling before they connect with product. Artistic expression creates emotion, atmosphere, and desire, while commercial purpose gives that emotion direction. When the two work together, the result feels natural rather than forced. The campaigns that resonate most to me are those where creativity feels honest, where the visual language reflects the soul of the brand, not just a marketing objective.
When advertising speaks to people on a human level, commercial success becomes a consequence, not the goal.
In your view, what distinguishes a fashion campaign that resonates in the long term from one that simply follows trends?
Ksenia Mishina: A fashion campaign resonates in the long term when it is rooted in identity rather than urgency. Trends are powerful, but they are temporary. You can tell when an idea was developed with time and confidence, rather than built around what is trending that season.
Being on set, I’ve felt the difference very clearly. When a campaign is trend driven, there is often pressure to replicate something that already exists. When it’s built on a strong idea, the atmosphere is calmer, more focused, and the result feels more authentic. Those are the images that stay with me not because they were everywhere, but because they felt true to the brand and the moment.
Team:
Model - Ksenia Mishina @kseniaorkse
Photographer – ALIKHAN @alikhan_photography
Art Director – Radik Ayzharikov @radik_aijarikov
Stylist - Julia Golden @juliaisgolden
MakeUp - Natalia Malova @nataliamalovamua
Hair - Sergey Lozin @sergey_lozin
Stylist Assistant - Kate Simakova
