Reading time: 8 minutes

05.03.2026

We sat down with Anastasia Mathiotte, founder and creative director of Maison Anastasia Mathiotte, to dive into her vision of the future of fashion. She shared how she’s building her brand as a creative laboratory, without relying on investors, and why she believes the key to the industry’s evolution lies in new technologies and community-driven creativity.

Anastasia also opened up about the 4D Matrix concept and what it means for the future of shopping, bringing a new consciousness to the fashion world. A conversation about the intersection of innovation, collaboration, and artistic evolution — and why the future of fashion might be closer than we think.

I started as a hairdresser, it’s also a job with form and color. I loved parties, I loved making accessories for myself, and people started noticing them. One client from the salon made a big order for her shop, and that became my first small brand. I realized I wanted to develop 100% in this direction, and I invested everything I earned into studying.

Eight years ago, I moved to Paris, full of inspiration from José Castro, who worked with Alexander McQueen. He gave me this “virus” of creation – very emotional, very artistic. From that moment, I couldn’t imagine doing anything else.

I moved to Barcelona, enrolled in a fashion institute, and interned with my favorite designer at the time, José Castro. For me, design is a craft, a technical work, and I fell in love with this process completely. Later I studied Experimental Jewelry in London. Eventually, in St. Petersburg, I created a wedding and evening dress brand, because I understood that couture and individual work with a person was what truly interested me.

My brand is Maison Anastasia Mathiotte. When I arrived in Paris, I wanted to start a new story. I already knew how to create technically complex dresses, but I wanted something more artistic, more experimental, less “classic wedding”.

I officially started the brand in 2020. The first five years were fully dedicated to experimentation. Every season, we presented collections during Paris Haute Couture Week in our gallery — sometimes as shows, sometimes as presentations. As a business, we mostly do private orders: red carpets, weddings, special events.

I wanted a platform, a laboratory, where I could express my unique code through a physical piece, an art piece you can wear. That’s why I call my brand an Art Couture brand. It comes from haute couture craftsmanship, but what I’m doing is more about experimentation and innovation. We create everything from scratch: the colors, the textures, the materials — everything starts with white silk and becomes something new.

Art Couture collection 06 MATRIX4D

For me, it’s really the beginning of opening the brand’s DNA to the world. These first five years were about research and experimentation. Only now, at the end of 2025, I feel ready to unfold this code – this aesthetic of the future. We take inspiration only from the future, never from the past.

The most frightening moment is always before a show – seeing all the bills, having no investors and no budget. It’s super scary. But every time, I pass through this fear. If I have to release a collection, it will be done anyway.

Now I feel ready to give this vision to the world. I’ll continue experimenting, but I also want to create more ready-to-wear pieces, accessories, more commercial products. The product is ready now.

I have another brand, and I’m the co-founder of the 4Dverse ecosystem, which includes art objects and interior design. So, in 4D format, what we call it is like... it's metaphorical. It's a metaphor for a new level of consciousness. We believe that humanity, at this moment, is moving towards a new state of consciousness, a new state of technological progress, which naturally gives us the possibility to expand our consciousness, because we’ll have more time. There will be a crisis of ideas, because there won’t be this... manual routine anymore. And the main inspiration, as I said before, is that we draw inspiration only from the future, not from the past. We use zero references, zero mood boards—our main inspiration is the possibility of human consciousness. It's like we have a new access to how we see the world, how we act in this world, and what we give to this world. So, the 4D is a metaphor for a new state of consciousness. And, as a continuation of this new state, we are able to create a new matrix. By matrix, I mean everything around us—the world we live in—we call this matrix in our brand, either as a metaphor or not, however you wish.

3D-printed sculptures with AR integration for exhibition on Ibiza

The main code of inspiration for the brand and the whole ecosystem is this new state of consciousness. It helps us go beyond the illusion of separation.

We don’t produce in factories because it’s impossible to encode this idea when the work is done somewhere else. We do everything by hand. It’s craftsmanship, but also an energetic process.

All our products are made to help the customer feel their own uniqueness: that they are an important part of the universe. The Matrix is the world around us, and we want to create a new one by putting this consciousness into our products, through colors, embroidery, and intention.

Since my first collection, I’ve used the phrase:
 “I am all, and all is love.”
It means: my heart is open, I’m connected to everything and everyone, and everyone is unique and equally valuable.

Yes. Inside this idea, I act with my own unique code – like every person. We express this code through everything we do. I don’t create something separate from myself. As I said before:
 “I am all, and all is love.”

My products are simply a continuation of my art and my vision of the world.

The technology we use in our art couture process, for dresses, sculptures, and interior objects, is a combination of craftsmanship and modern innovation. First and foremost, it’s about handmade work. But we also use 3D printing technology, which we are absolutely passionate about. From the moment I first saw a robot printing objects, I became obsessed. I knew right away that I would work with this technology.

We’ve also worked with colors, which is my personal passion as a colorist. When I worked on my first collection, I realized I couldn’t find the fabrics I truly wanted. I went to Premiere Vision, where the most innovative fabrics are showcased, but still didn’t find what I needed. So, I decided to create my own colors and textures. Now, our next step is to develop our own fiber and methods for producing fabric.

Even back in 2020, I created my first 3D-printed shoes for a show, even though they were impossible to walk in. It was challenging, but I was fascinated by the possibilities. Why was I obsessed? Because 3D printing simplifies the process. It eliminates all the logistics and difficulties that made me crazy when I first started studying how to create things. It allows us to create effortlessly. It’s amazing: whether we’re printing jewelry, a house, a boat, or shoes, it’s all possible. The technology is truly impressive.

Yes, this is my main direction now, to create the fabric using 3D printing technology.

I think, will involve more 3D printing. I see a future where fashion is created with a mix of robots and hands. I don’t really see traditional factories being a part of this future.

I would never work with casting directors in the traditional model agency system. I really don’t like that way of choosing models. Now, I prefer building a team, a family, who understands and feels the product.

I had a big obsession with magazines. I wanted to be everywhere—Vogue, Numero, Officiel. But now I see it was more about ego. It didn’t lead to financial success.

I would start with less money. I would have optimized the working process earlier, but that only comes with experience.

There aren’t enough natural fibers we can work with right now. We use cotton and silk, but silk isn’t very ecological. That’s why we’re working with other laboratories and artists to develop new technologies for creating fibers.

We like mistakes because they help us grow and understand the industry. But I can tell you what I would never do again:

Yes, it’s the way people understand my product. Sometimes, I feel that my vision is not fully understood, but I know that the more I understand my work, the more the audience understands it. It’s a kind of energy that goes into the clothes, and when people feel it, it’s the best feeling.

Yes, when I work, especially with private clients, I always receive feedback from them along with pictures, which I really like. It’s super important to know how the person feels inside the dress. I didn’t mention this before, but the dresses we create are art objects, so there’s a special feeling embedded in the design. For me, it’s an experiment to see if they truly feel what I’ve integrated into the dress or if it’s just a visual code for them.

The happiest moments are when I receive feedback that clients really felt the energetic code I’ve embedded in the piece. We discuss beforehand what they want to feel when they wear the dress, and I integrate that feeling—whether it’s empowerment, confidence, or self-love.

I think Rafael realized it as soon as it happened, but the dress still looked beautiful in the pictures. The dresses are very organic, not geometric. Even though something happened, it didn’t break the look. It was an amazing experience.

A funny moment I remember was at the Cannes red carpet. I made an outfit for a French influencer Raphael Say. It was a nice combination of pants and a dress with long flowing fabric. At the festival, there are always so many people around, and Rafael later called me to say someone had broken the dress with a heel, making a hole. It was funny, and I remember it clearly. We fixed the part, and it was fun because the hole was caused by someone’s heel.

For me, personally, I would speak about myself as a customer. I’m working with energetic art pieces, and I feel the energy of the products when I go into the shop.

I haven’t bought mass-market items since 1995. I can’t buy them because I feel what’s inside the piece. I think people will switch to conscious shopping when 4D consciousness comes into the world because of this sensibility. In a new world, in a new state of consciousness, we will be able to feel not just the ingredients of fabrics, but the ingredients of the product itself—the person who created it, the person who produced it, the logistics, the company that brought it to you. Everything is included in that ingredient.

The future is about clean ingredients and very good quality. So it’s a question of consciousness. If it’s truly valuable for you, not because of something, but just because you feel it. It’s like when you feel it on your plate—it’s good food, or when it doesn’t smell good—it’s the same.

Of course, I always choose local brands. Or, I can go to another country to buy something and have the customer experience in an offline shop. I think the future of retail is going to be a little museum in every concept store, a mix of a contemporary museum, a church, and a cinema. It’s an entertainment place, an experience—the coffee you drink there, the smell. Offline shopping will be the next level, but not mass-market shopping.

You want to eat this, or you don’t want to eat this. For me, the choice is clear. But to feel it, you need a new vision of the world, of yourself, and the new customer experience.

I think it would be very useful to have more platforms connecting young, visionary artists. Creating innovation or a new vision takes time—it’s not possible to do it quickly and sell right away. Of course, investment is crucial. I’ve tried connecting with investors, particularly venture capitalists who invest in brands, but it’s been challenging.

I would ask them, “Are you ready for transformation? Are you ready to embrace a new version of yourself?” I don’t know if I’d get an honest answer, but I think it’s important to be ready for a new experience. Transformation is a personal journey, and it’s crucial to be prepared for it.

It’s interesting. Some people, when they see something new, they want to feel it, they ask me even to do sketches, but then they hesitate. It’s not about the price or the design – it’s about the unknown. They step back because it’s scary to go down an unfamiliar path. It’s much easier to buy something safe, like a Valentino dress. But if you want extraordinary results, you have to take that step into the unknown.

Innovation, for me, is a space for experimentation and creation. People say they want innovation, but then they ask you to do things in a very specific way—sell it like this, present it like that. It’s not possible to do this in true innovation because innovation is about experimenting, creating something new. In our 4Diverse ecosystem, we’re building a model with my brand and my partner's brand, and we want to expand this ecosystem with more brands. One of the biggest challenges is finding spaces to work in Paris, which is so expensive. It’s a problem I’ve been facing every day for five years. Without a stable income or a permanent space, it’s extremely difficult. But we’re working on it by connecting with visionary people and creating platforms for collaboration.

I believe in connection. Our power lies in community. We’re already seeing the trends—we’re building the future now. Our main inspiration is love, and the idea of creating a community where there is no competition, only empowerment: “I am all, and all is love.”. That’s the future I see—empowering each other through our unique codes. It’s not about competition but about collaboration. Me and Maria are working to create this, and I truly believe it’s the way forward.

We buy the experience first. We buy the energy of the piece, the code of the brand. The change happens at the level of consciousness, because it’s where we make our choices. Choices are based on our vision of the world, of ourselves, and our priorities.

If the priority is to have a new dress for tonight, to not spend too much money and get it fast, I go to Zara, buy something for 50 euros, and I’m a superstar that evening. This is one level of consciousness. It’s not bad, it’s not good, it just is.

Another level is having a small, functional wardrobe. I have a small wardrobe, and I admire people like this because they have their style, and they don’t need to be someone else. You build your beautiful, small wardrobe, and it’s you. You don’t care about wearing the same dress at every event. It’s unique, and that’s how you are.

It’s a beautiful feeling. It’s not just about consuming—you buy, you show. It’s like being a collector, a collectionist. It’s your art set, your suitcase with gold jewelry.

The most stylish people on earth are the ones with the same style almost all the time. Check Lenny Kravitz. They have this style inside their blood, inside their DNA. That’s the most valuable thing. In this state of mind, when you present yourself with a beautiful customer experience, you don’t go to DuLine or Zara. You go to an art couture house or a concept store. You connect with the piece, invest in it, and you can resell it after.

Right now, I’m focused to create an aesthetic of the future and build a community. I believe that without a community, there is no world. In this community, every individual should have the opportunity to unlock their unique code. Through this, we can offer innovative products to the world and inspire other innovators to join this path of transformation.

I want to be an inspiration and a foundation for a community that truly wants to create this new world.

I know for sure that everyone has their own mission, a unique code to express. Some people’s mission is to help others realize their ideas. And if everyone fully embraces this potential, the world will be much more beautiful and richer in meaning. There’s no future, no past—just the present and the software we’re all downloading. We are all connected to something new, something that hasn’t existed yet. And if we express our creativity without fear, we can change the world.

My dream is to create a world where everyone can express their uniqueness through their products. This could be anything—books, films, homes, fashion. The future is about unlocking the creative potential in every person and inspiring them to take that first step into the unknown. It's scary, but it’s the path I’ve chosen, and I’m incredibly happy to be on it.

NEUROLINE AND CODING SYSTEMS FOR BUILDINGS by 4dverse

AI can’t replace human faith and creativity. I’m very active in using these tools, but there’s a difference between the tools and the source of ideas. Silicon Valley is talking about a crisis of ideas, but where do those ideas come from? They don’t come from the external world; they come from within. Everyone has a unique software inside them, and if we open up to this, the possibilities are endless.

Don’t be afraid to go down the unknown path. If you want extraordinary results, it won’t come from following the beaten path. It will come from stepping into the unknown and embracing what scares you. And remember, every human being has the potential to create something unique. Trust in that. Trust in your ability to unlock your own code.

Consciousness without being preachy: what is an ethical brand and how does it affect us — plus an honest selection of those we can trust.

They don’t follow fashion. They make it change.

All great brands were once local. From the basements of London to the runways of Paris — stories that inspire you to believe in your own “possible.”