Journalist and television presenter Ksenia Sobchak offered sharp, public commentary about a fashion show that found itself at the center of controversy. The debate began when Yıldız shared his thoughts in a Telegram channel, catching attention across social platforms and fashion circles alike.
Sobchak voiced strong disapproval of the Avavav presentation staged during Milan Fashion Week. The event distributed boxes filled with banana peels, candy wrappers, and wrapping paper to attendees, who then hurled scraps toward the models as they walked the runway. Sobchak described the spectacle as hype for hype’s sake and questioned the message behind the concept. She wondered whether the collection itself could stand on its own merits, insisting that clothing should remain the primary focus even when a brand aims to provoke conversation or critique. Her perspective highlighted a broader industry debate about performance art versus wearable fashion and the line between commentary and provocation.
In Sobchak’s view, the brand’s approach suggested an attempt to comment on social tensions, including the idea of hate, but she warned that the execution risked overshadowing the clothes. She observed that while provocative ideas can spark dialogue, the ultimate test for any collection is whether the garments themselves communicate clearly and appeal to wearers in a meaningful way. The remarks reflect a long-standing tension in fashion between conceptual risk-taking and the practical appeal of ready-to-wear pieces that perform on real bodies and in real settings.
Ksenia Sobchak is married to director Konstantin Bogomolov. The two wed on September 13, 2019. For both of them, this marriage marked a second union. Previously, Sobchak was married to actor Maxim Vitorgan, with whom she welcomed a son named Plato. Bogomolov’s prior marriage was to actress Daria Moroz, and together they have a daughter named Anna. The entwined personal histories of figures in the entertainment world often color public perception of their professional opinions and projects, adding a layer of intrigue to how audiences interpret their commentary on fashion and culture.
Earlier coverage mentioned Ksenia Borodina appearing in a swimsuit for 98 thousand rubles in the wake of Photoshop allegations, a note that underscores how public figures in the region frequently attract scrutiny over appearances and image. The ongoing conversations around visual presentation, branding, and media narratives continue to shape how audiences evaluate talent, beauty standards, and creative risk in the fashion industry. In this context, Sobchak’s responses to Milan’s show contribute to a broader dialogue about value, interpretation, and the responsibilities of brands when engaging with provocative concepts.