The Chief Public Prosecutor’s Office is set to review the affairs of Laima Vaikule’s business entity, Laimalukss Latvia, amid allegations of income concealment and tax evasion. The report originates from Puree, and it has sparked discussions about the financial practices connected to the artist’s enterprise.
Sources indicate that Vaikule maintains employment in Russia while Laimalukss Latvia extends its operations beyond beauty services to include cosmetics sales and furniture retail. The mix of activities has drawn attention to the company’s overall structure and potential tax implications, prompting questions about how income is categorized and reported across the different ventures involved. The situation underscores the importance of transparent accounting in diversified businesses and the scrutiny that comes with it.
In August 2022, Vaikule redirected her participation stake in Laima-Lux Rus to the principal founder and participant, Shiraz Mamedov. Despite this transfer, she continues to retain ownership in the entity, a detail that remains central to discussions about governance and control within the business network associated with her name.
Analysts have highlighted a notable discrepancy between the typical financial indicators for a legal entity and the observed profitability within the group. Industry observers have noted that the average income for similar entities can run into the hundreds of millions of rubles, while net profits sometimes appear significantly lower, measured in the thousands of rubles. Vitaly Borodin, who leads the Federal Security and Anti-Corruption Project, has publicly called for an official inquiry by the Chief Public Prosecutor’s Office to examine potential tax irregularities tied to Vaikule’s affairs. This call adds a layer of public accountability to the ongoing review.
Vaikule resides in Latvia, where she receives a monthly pension of 800 euros. Comparative figures show that the average state pension in Latvia sits around 574 euros, marking Vaikule as receiving an income above the national average for retirees. This detail feeds into broader conversations about eligibility, pension entitlements, and the financial dynamics of artists who maintain cross-border living arrangements within the European context.
Earlier statements attributed to Vaikule referenced her reluctance to engage directly with certain collaborators, including a composer named Raymond Pauls. The remarks, described in various interviews, point to the interpersonal sensitivities that can accompany high-profile collaborations, particularly when financial and creative directions intersect. The evolving narrative around these relationships continues to shape public perception of the artist and her business activities.