Since 2025
OCTOBER 2025
TABLE OF CONTENTS:
OCTOBER 2025
Fortunately, I was not alone. Standing by my side where partners who believed in this vision: Svetlana Mikhay, Anastasia Oakey, and Olga Kirina. Each of them is a unique individual and an expert with a distinctive voice. Together we gathered a team of professionals to create a monthly issue that is strong, cohesive and refined.
Our first edition is dedicated to the concept of meaning. We discussbooks and philosophy, art and business, psychology and theater, traditions and innovation. All that transforms the everyday into luxury—and luxury into a source of inspiration.
You will find sections unlike any other magazine ahead. Guardians of Tradition—a project led by Svetlana Mikhay—opens the hidden rules and family rituals of the world’s most influential dynasties. These are not mere stories, but rather a code of power and resilience, known only to a few. Another feature, Dog-Pass, is about the art of traveling the world with your four-legged companions—effortlessly, stylishly, and beautifully together.
This magazine is created for those who value not only information but also the form it takes. For those who understand that style isn't just clothing—it is a way of seeing the world. For those who are ready to choose the betterover louder.
We invite you to step into a new circle. Carpe Diem Magazine is a community that rewrites the rules. This very issue marks the beginning of our story—and you are a part of it.
Carpe diem. Seize the moment. Turn it into eternity.
Natalia Shvetsova
Our first edition is dedicated to the concept of meaning. We discussbooks and philosophy, art and business, psychology and theater, traditions and innovation. All that transforms the everyday into luxury—and luxury into a source of inspiration.
You will find sections unlike any other magazine ahead. Guardians of Tradition—a project led by Svetlana Mikhay—opens the hidden rules and family rituals of the world’s most influential dynasties. These are not mere stories, but rather a code of power and resilience, known only to a few. Another feature, Dog-Pass, is about the art of traveling the world with your four-legged companions—effortlessly, stylishly, and beautifully together.
This magazine is created for those who value not only information but also the form it takes. For those who understand that style isn't just clothing—it is a way of seeing the world. For those who are ready to choose the betterover louder.
We invite you to step into a new circle. Carpe Diem Magazine is a community that rewrites the rules. This very issue marks the beginning of our story—and you are a part of it.
Carpe diem. Seize the moment. Turn it into eternity.
Natalia Shvetsova
Manifesto of the First Issue
CARPE DIEM MAGAZINE
Carpe Diem Magazine is more than just a publication. It is a manifesto fora new kind of intellectual luxury. Here, there are no random texts, no second-rate ideas, no haste. Only what sharpens taste, expands horizons, and teaches us to live with awareness and delight.
My path has always been tied to analysis, strategy, and the art of building systems. I have an economics degree, an MBA, dozens of certificates, and I have spent years at the top of the corporate world. I have grown accustomed to viewingthe world through algorithms, where eachpart supports another. Out of this vision came the idea: to bring meaning, people, and stories together in one place—a place you can visit every morning over coffee.
My path has always been tied to analysis, strategy, and the art of building systems. I have an economics degree, an MBA, dozens of certificates, and I have spent years at the top of the corporate world. I have grown accustomed to viewingthe world through algorithms, where eachpart supports another. Out of this vision came the idea: to bring meaning, people, and stories together in one place—a place you can visit every morning over coffee.
very era creates its own voice. In an era where the noise of information drowns out even our own thoughts, we are choosing a different path. We are building a space where quality
E
rises above quantity, where style matters more than volume, and meaning outweighs fleeting news.
OCTOBER 2025
The Ringling: Florida’s Venetian Secret
Cycle: "Intelligence as capital"
By Helen Erna
For the ordinary visitor, the museum is surprisingly accessible. Tours of Ca’ d’Zan run daily, and stepping inside feels like walking into a movie set: gilded ceilings, marble staircases, and Venetian chandeliers that seem almost too ornate for Florida’s humid air. What surprises most tourists is the scale—not just the mansion, but the 66-acre grounds, which include a rose garden, banyan groves, and the Circus Museum with its whimsical miniatures and dazzling costumes.
Unlike the hushed sterility of some institutions, The Ringling is alive. Children run across lawns, artists sketch in courtyards, and wedding parties pose beneath arches glowing at sunset. It is a museum that behaves more like a stage: open, evolving, generous.
To visit is to step out of Florida’s predictable sunshine-and-surf narrative and into a story that binds the glamour of Venice with the ambition of American showmanship. For some, it is a nostalgic fantasy; for others, a revelation that culture in Florida need not be provincial. The Ringling whispers, like Venice itself, that beauty and spectacle are inseparable—and that the line between art and performance is not meant to be sharp, but blurred.
Unlike the hushed sterility of some institutions, The Ringling is alive. Children run across lawns, artists sketch in courtyards, and wedding parties pose beneath arches glowing at sunset. It is a museum that behaves more like a stage: open, evolving, generous.
To visit is to step out of Florida’s predictable sunshine-and-surf narrative and into a story that binds the glamour of Venice with the ambition of American showmanship. For some, it is a nostalgic fantasy; for others, a revelation that culture in Florida need not be provincial. The Ringling whispers, like Venice itself, that beauty and spectacle are inseparable—and that the line between art and performance is not meant to be sharp, but blurred.
n Florida, a state better known for its beaches, oranges, and theme parks, one place stands apart like a mirage. On the Gulf Coast in Sarasota rises The Ringling Museum and Art Residence, an estate that feels at once Floridian and Venetian, flamboyant yet refined. Here, a stroll across the grounds is less a museum visit than an immersion into a gilded fantasy—part circus dream, part Renaissance palace.
What makes The Ringling unlike any other museum in Florida is not only its collection—which spans European masters, contemporary installations, and, naturally, an homage to the circus empire of John and Mable Ringling—but also its setting. The centerpiece, Ca’ d’Zan, is a Venetian-style mansion shimmering in pastel terracotta and jade-green tiles, with arched loggias and stained-glass windows that look as if they’ve sailed across the Adriatic straight into Sarasota Bay. It is a piece of Venice under the Florida sun, complete with marble balustrades and a waterside terrace where the Gulf reflects like a lagoon.
The Venetian influence is everywhere: in the colonnades, the frescoed ceilings, and the gardens designed for slow promenades. Where other Florida museums might focus on sleek modernism or tropical modernity, The Ringling embraces the Old World. It is architecture that insists on drama, beauty, and performance—much like the circus itself.
The crowd it attracts is just as layered. On any given day you might encounter art historians tracing brushstrokes of Baroque canvases, Sarasota’s society figures attending a black-tie gala, or artists-in-residence experimenting with bold installations in the museum’s contemporary wing. Evenings bring another transformation: charity dinners, masquerade balls, and open-air concerts where
The Venetian influence is everywhere: in the colonnades, the frescoed ceilings, and the gardens designed for slow promenades. Where other Florida museums might focus on sleek modernism or tropical modernity, The Ringling embraces the Old World. It is architecture that insists on drama, beauty, and performance—much like the circus itself.
The crowd it attracts is just as layered. On any given day you might encounter art historians tracing brushstrokes of Baroque canvases, Sarasota’s society figures attending a black-tie gala, or artists-in-residence experimenting with bold installations in the museum’s contemporary wing. Evenings bring another transformation: charity dinners, masquerade balls, and open-air concerts where
candlelight flickers across Venetian arches and conversations float between champagne flutes. The audience is eclectic—philanthropists, retirees, young collectors, even students—all drawn into the theater of culture The Ringling has carefully staged.
Photo from allaroundthebend.com
Photo from allaroundthebend.com
Photo from allaroundthebend.com
Photo from www.crystalsandsonsiestakey.com
I
Dogs That Live Better Than Us
OCTOBER 2025
By Olga Kirina
POLYOTNYANY FACTORY – THE GONCHAROV ESTATE
raveling with a four-legged friend is not nearly as difficult as it may seem at first glance. Based on our own experience, we will share and show you how to do it beautifully.
Snoopy and I don’t have a country house, but the whole planet belongs to us, which we eagerly explore
Snoopy and I don’t have a country house, but the whole planet belongs to us, which we eagerly explore
We have been visiting the Polyotnyany Factory since 2021. Our first trip there was to see the exhibition of artist Katya Rozhkova, ‘The White School,’ organized in the House of Factory Owner Shchepochkin. This three-story stone mansion in Russian Classicist style, with columns, porticoes, and balconies, stands on the high riverbank. During World War II the Germans turned it into a stable, and when retreating, they mined it. The locals discovered the plot and saved the house. Remarkably, it still preserves rare ceiling frescoes and late 18th-century interiors, with ornate stoves and parquet floors. After the Revolution, the Shchepochkin house became a school, and Katya’s exhibition theme was a homage to the history of the place and the collective childhood memories.
Our first journey here was in July, and after the stuffy Moscow heat, we were suddenly embraced by coolness, scents, and the grandeur of Great Interiors and Subtle Art.
We enjoyed the exhibition, and took a short waltz with Snoopy under the painted ceilings, admired the picturesque river valley from the balcony. Snoopy loves to pose for pictures, and we took some truly atmospheric photos.
Our first journey here was in July, and after the stuffy Moscow heat, we were suddenly embraced by coolness, scents, and the grandeur of Great Interiors and Subtle Art.
We enjoyed the exhibition, and took a short waltz with Snoopy under the painted ceilings, admired the picturesque river valley from the balcony. Snoopy loves to pose for pictures, and we took some truly atmospheric photos.
EXHIBITION
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Photo by Olga Kirina
Whenever we visit the Goncharovs, we stay at the estate’s Hotel. The building is a protected 18th-century architectural monument that once housed the estate’s Carriage House. The two-story stone hotel and the Groom’s House (which is now a Restaurant—spelled just so!) are the only structures that survived the war. The half-meter-thick stone walls reliably protect you from summer heat and Epiphany frost. Some rooms overlook the river, and many even feature their own libraries! You certainly won’t be bored if it rains, or if you simply wish to sit by the river with a book.
Trust our experience: this is one of the best dog-friendly hotels and restaurants in Russia. Here the size or weight of your four-legged companion doesn’t matter, PROVIDED you can vouch for his good manners. In the hotel lobby you will see the Goncharov coat of arms, and begin to gradually immerse yourself in history.
Trust our experience: this is one of the best dog-friendly hotels and restaurants in Russia. Here the size or weight of your four-legged companion doesn’t matter, PROVIDED you can vouch for his good manners. In the hotel lobby you will see the Goncharov coat of arms, and begin to gradually immerse yourself in history.
HOTEL
At that time the estate with its park and ponds was also founded.
Built in the Classicist style, the Goncharov Estate, was one of the largest and most lavishly decorated estates in Russia. By the early 20th century, only a wing of the main house survived, which was once used as a theater, while the surrounding park fell into disrepair. Part of the grounds hosted fairs, which are now once again held twice a year.
There is another reason to visit the Polyotnyany Factory—either in summer on Pushkin’s Day, or in autumn for Natalya’s Day.
The main museum building was carefully restored in the 1970s–80s. There is even a version that the estate may have been designed by the great Bartolomeo Rastrelli. The Museum of the Main House is a must-visit, showcasing numerous unique exhibits. For example: Kaluga province was the only place in Russia where canaries were bred for sale—you can admire and listen to live birds in one of the halls. There is even a charming toy theater, which pays homage to the estate’s illustrious past.
Built in the Classicist style, the Goncharov Estate, was one of the largest and most lavishly decorated estates in Russia. By the early 20th century, only a wing of the main house survived, which was once used as a theater, while the surrounding park fell into disrepair. Part of the grounds hosted fairs, which are now once again held twice a year.
There is another reason to visit the Polyotnyany Factory—either in summer on Pushkin’s Day, or in autumn for Natalya’s Day.
The main museum building was carefully restored in the 1970s–80s. There is even a version that the estate may have been designed by the great Bartolomeo Rastrelli. The Museum of the Main House is a must-visit, showcasing numerous unique exhibits. For example: Kaluga province was the only place in Russia where canaries were bred for sale—you can admire and listen to live birds in one of the halls. There is even a charming toy theater, which pays homage to the estate’s illustrious past.
HISTORY OF THE ESTATE AND MUSEUM
In 1718, by decree of Peter I, Kaluga merchant Timofey Karamyshev founded a Sailcloth Factory here, on the Sukhdrev River. In 1720, together with Grigory Shchepochkin and Afanasy Goncharov (the great-great-grandfather of Natalya Goncharova, wife of Alexander Pushkin), he established a Paper Mill.
It was under the Goncharovs that Polyotnyany Factory gained fame throughout the empire: paper from here was shipped to St. Petersburg and Moscow, used for printing books, journals, and state decrees.
It was under the Goncharovs that Polyotnyany Factory gained fame throughout the empire: paper from here was shipped to St. Petersburg and Moscow, used for printing books, journals, and state decrees.
Once, we were fortunate to attend a truly unique performance. In 2021, some of my talented friends achieved the Impossible—despite the building having no water or electricity, where snow covering the windowsills and floors in the winter, they staged a fantastic operatic evening.
They performed the opera ‘Tertia’ in three acts at the Shchepochkin House. The performance began in the warm glow of early evening. Music by Schumann, Schubert, and Rimsky-Korsakov filled the various halls of the estate, drifting through the enfilades of rooms. The third act was performed by candlelight on the balcony overlooking the grand entrance—and, believe it or not, half the village came to hear the enchanting music.
Snoopy was also fortunate to experience the Great Art of Opera, since we arrived at the Polyotnyany Factory in the afternoon and listened to rehearsals through the open windows while strolling on the grass around the Shchepochkin House.
They performed the opera ‘Tertia’ in three acts at the Shchepochkin House. The performance began in the warm glow of early evening. Music by Schumann, Schubert, and Rimsky-Korsakov filled the various halls of the estate, drifting through the enfilades of rooms. The third act was performed by candlelight on the balcony overlooking the grand entrance—and, believe it or not, half the village came to hear the enchanting music.
Snoopy was also fortunate to experience the Great Art of Opera, since we arrived at the Polyotnyany Factory in the afternoon and listened to rehearsals through the open windows while strolling on the grass around the Shchepochkin House.
OPERA
In memory of the factory’s glorious past, there is another fascinating interactive museum—the Paper Museum ‘Buzeon.’ Here you can discover the complete history of papermaking, touch nearly every exhibit, and even craft your own paper to take home.
BUZEON
We highly recommend a visit to the beautiful old city of Kaluga, just half an hour from the estate. We usually go for a stroll along Voskresenskaya Street, now considered a historical monument street. Though not long, it perfectly conveys the atmosphere of a 19th-century merchant town and showcases preserved architecture.
Be sure to peek into the archways and courtyards, even if they look ordinary from the outside. Once we stumbled upon a true architectural treasure—a wrought-iron staircase over a century old.
A leisurely walk down this street to the Oka River embankment is our favorite pastime. Along the way, you encounter both restored buildings and crumbling ruins (such as the Goncharov mansion).
You’ll see old churches with worn walls and shabby columns—everything true lovers of authentic architecture admire. Snoopy will love the endless corners to sniff out: greenery, wooden fences, cozy cottages with carved window frames—all the little joys dogs adore.
In central Kaluga, be sure to step into the courtyard of the Zolotarev estate and snap a photo—‘paws on cobblestones.’
During one visit we discovered the contemporary art gallery PROARTS and spent half the day there—had coffee, chatted with the owners, and staged a photoshoot for Snoopy.
You will also surely find cozy cafés and restaurants with homemade cuisine and warm atmosphere, where you can enjoy lunch, while your companion will be offered water, and perhaps even a treat.
Be sure to peek into the archways and courtyards, even if they look ordinary from the outside. Once we stumbled upon a true architectural treasure—a wrought-iron staircase over a century old.
A leisurely walk down this street to the Oka River embankment is our favorite pastime. Along the way, you encounter both restored buildings and crumbling ruins (such as the Goncharov mansion).
You’ll see old churches with worn walls and shabby columns—everything true lovers of authentic architecture admire. Snoopy will love the endless corners to sniff out: greenery, wooden fences, cozy cottages with carved window frames—all the little joys dogs adore.
In central Kaluga, be sure to step into the courtyard of the Zolotarev estate and snap a photo—‘paws on cobblestones.’
During one visit we discovered the contemporary art gallery PROARTS and spent half the day there—had coffee, chatted with the owners, and staged a photoshoot for Snoopy.
You will also surely find cozy cafés and restaurants with homemade cuisine and warm atmosphere, where you can enjoy lunch, while your companion will be offered water, and perhaps even a treat.
KALUGA
While staying at Polyotnyany Factory, in the evenings we love to walk around the settlement. Several merchant mansions still remain, reflecting the old way of life. Today, the place feels more like a genuine village. During our strolls, we always meet locals, exchange greetings, hear dogs barking, frogs croaking, cows lowing. Sometimes we reach the village school. The scent of the surrounding fields, grass, flowers all around is simply indescribable. We delight in sunsets and mists.
Sometimes Snoopy and I rent a motorboat and ride along the river that circles the peninsula where the Park is located.
And the view of the Shchepochkin House—standing proudly on the high riverbank, illuminated by sunset—is truly priceless.
But we come here for the Park itself. Just imagine—it was designed according to all the principlesof English landscape gardening, and the pathways were laid during the Goncharov era. Catherine the Great, Kutuzov, Alexander Pushkin, and countless others once strolled here. Natalya Goncharova, future wife of Pushkin, grew up in this very estate. Here’s an idea: bring beautiful dresses and stage an atmospheric 19th-century style photoshoot.
For your walks you can choose a route to your liking: the Path of Solitude, the Poet’s Path, or the English Path.
The park entrance itself is a masterpiece of landscape design: towering oaks and linden trees (blooming and fragrant in July), flanking the Main Alley, with rectangular English ponds dug on both sides. Snoopy once fell into one while trying to catch a frog—so be careful, nature here is irresistibly charming. Sometimes horses and foals graze in the park meadows.
Every path, whether long or short, eventually leads you to the Pushkin Pavilion, and approaching it you suddenly ‘meet’ Alexander Sergeyevich himself, proudly seated in his chair, gazing at the river. The rose petals scattered generously on the grass add to the romance—remember that weddings and other ceremonies are often held here.
Do also remember the fierce mosquitoes—repellent is a must.
Sometimes Snoopy and I rent a motorboat and ride along the river that circles the peninsula where the Park is located.
And the view of the Shchepochkin House—standing proudly on the high riverbank, illuminated by sunset—is truly priceless.
But we come here for the Park itself. Just imagine—it was designed according to all the principlesof English landscape gardening, and the pathways were laid during the Goncharov era. Catherine the Great, Kutuzov, Alexander Pushkin, and countless others once strolled here. Natalya Goncharova, future wife of Pushkin, grew up in this very estate. Here’s an idea: bring beautiful dresses and stage an atmospheric 19th-century style photoshoot.
For your walks you can choose a route to your liking: the Path of Solitude, the Poet’s Path, or the English Path.
The park entrance itself is a masterpiece of landscape design: towering oaks and linden trees (blooming and fragrant in July), flanking the Main Alley, with rectangular English ponds dug on both sides. Snoopy once fell into one while trying to catch a frog—so be careful, nature here is irresistibly charming. Sometimes horses and foals graze in the park meadows.
Every path, whether long or short, eventually leads you to the Pushkin Pavilion, and approaching it you suddenly ‘meet’ Alexander Sergeyevich himself, proudly seated in his chair, gazing at the river. The rose petals scattered generously on the grass add to the romance—remember that weddings and other ceremonies are often held here.
Do also remember the fierce mosquitoes—repellent is a must.
PARK WALKS
On the way back to Moscow, we recommend stopping at the art park Nikola-Lenivets. It is currently the largest park of its kind in Europe. Sometimes it feels as if you are at the Venice Architecture Biennale. All art objects here are created by celebrated Russian artists. The works are monumental, and Snoopy in the photos often looks like a miniature dog, perfectly adding scale.
The park is vast, yet easy to navigate. In warm weather, it attracts crowds. Convenient pathways lead to the installations, and you may even see wildlife: once, on the way to the Bobur structure, we came across a beaver in an overgrown pond.
The reconstruction of the Trinity Church (a project by the Terra architectural bureau) is absolutely unmissable. In 2021, we even managed to bring Snoopy inside! But if not, it’s not a problem to leave your furry friend with a companion and go inside. It is a very light and beautiful place.
The park is vast, yet easy to navigate. In warm weather, it attracts crowds. Convenient pathways lead to the installations, and you may even see wildlife: once, on the way to the Bobur structure, we came across a beaver in an overgrown pond.
The reconstruction of the Trinity Church (a project by the Terra architectural bureau) is absolutely unmissable. In 2021, we even managed to bring Snoopy inside! But if not, it’s not a problem to leave your furry friend with a companion and go inside. It is a very light and beautiful place.
NIKOLA-LENIVETS
One day is enough for a general acquaintance with the park. Accommodation is not easy to find, as most cottages lack amenities, but sleeping there is blissful. The park’s resident dog, Belyash, is already an internet star. Naturally, Nikola-Lenivets is extremely pet-friendly: accommodation, cafés, art objects—all welcome your pets.
Unquestionably recommended!
Unquestionably recommended!
And finally, one of the most vivid impressions on the way home—in June 2025, we encountered endless lupin fields throughout our journey. Cars pulled over everywhere, people stopped to take photos and gather bouquets. It was breathtakingly beautiful and unforgettable. Choose your travel time wisely. Ideally, come on a Sunday evening, when weddings have ended, and you can enjoy the Estate and Park entirely to yourself.
Before leaving, be sure to buy pies at the Restaurant (baked fresh on site). The pastries are simply divine—our favorites: sugar buns and cabbage pies.
We wish you and your pets only pleasant impressions and new scents!
Before leaving, be sure to buy pies at the Restaurant (baked fresh on site). The pastries are simply divine—our favorites: sugar buns and cabbage pies.
We wish you and your pets only pleasant impressions and new scents!
LUPIN FIELDS
Cycle: "Dog-Pass"
T
together. One of our favorite places is the Goncharov Estate, which in 2018 was recognized as the best museum-reserve in the Kaluga region. It is located about 200 km, or a three-hour leisurely drive from Moscow. Despite his extensive travel experience, Snoopy still doesn’t handle car rides/trips very well, so I give him half of a children’s motion sickness tablet. My VIP passenger rides in the back seat, secured with a harness. Most of the time he either sleeps or gazes out the window. Traditionally, every hundred kilometers, I try to make a stop for coffee and Snoopy’s ‘doggy business.’
The American company Prodermacare presents NUJEVI cosmeceuticals — a unique and safe way to slow down the aging of your skin. Developed using Transdermal Penetration Technology (delivery of active ingredients into the deeper layers of the skin). The company offers professional-level training with Skincare certificates. All training sessions are conducted in person by: Dr. Michelle Volynsky – formulator, Dr. Vartan –the company president, Roman Volynsky – official NUJEVI trainer and representative of Prodermacare (authorized NUJEVI distributor). The chemical solution has received a U.S. patent for its unique proprietary formula. The products are suitable for all skin types and fully comply with the highest industry standards. NUJEVI is a leader in professional cosmeceuticals, sharing expertise with both professionals and clients.
NUJEVI
NUJEVI
The market is flooded with brands that barely differ from one another. Amid this sea of options, NUJEVI stands out as a product that delivers tangible results comparable to medical-grade treatments.
In today’s competitive environment, manufacturers must consider consumer preferences. Research shows that products of natural origin have distinct advantages. NUJEVI products are developed with advanced technologies: information, nano-, and biotechnologies (cutting-edge methods that enhance the delivery and effectiveness of active components). Formulas containing liposomes (tiny “capsules” that allow active substances to penetrate deeply and act over a sustained period of time) ensure versatility, skin compatibility, minimal risk of toxic and antigenic reactions, and effective delivery of active ingredients.
NUJEVI products are created with Transdermal Penetration Technology. The active components penetrate deep into the skin, reaching delicate tissue layers, achieving visible results while maintaining high product safety and ensuring prolonged biological action.
In the pursuit of beauty, we buy all kinds of skincare products. However, not all of them produce purely positive results. The reason is that even cosmetics marketed as natural or organic may contain ingredients that are not entirely safe for the skin. The effectiveness of a product depends not only on it’s ability to cross the skin barrier but also on how well its active substances are absorbed. Any compound that interactswith the stratum corneum can significantly affect skin condition and health.
In today’s competitive environment, manufacturers must consider consumer preferences. Research shows that products of natural origin have distinct advantages. NUJEVI products are developed with advanced technologies: information, nano-, and biotechnologies (cutting-edge methods that enhance the delivery and effectiveness of active components). Formulas containing liposomes (tiny “capsules” that allow active substances to penetrate deeply and act over a sustained period of time) ensure versatility, skin compatibility, minimal risk of toxic and antigenic reactions, and effective delivery of active ingredients.
NUJEVI products are created with Transdermal Penetration Technology. The active components penetrate deep into the skin, reaching delicate tissue layers, achieving visible results while maintaining high product safety and ensuring prolonged biological action.
In the pursuit of beauty, we buy all kinds of skincare products. However, not all of them produce purely positive results. The reason is that even cosmetics marketed as natural or organic may contain ingredients that are not entirely safe for the skin. The effectiveness of a product depends not only on it’s ability to cross the skin barrier but also on how well its active substances are absorbed. Any compound that interactswith the stratum corneum can significantly affect skin condition and health.
OCTOBER 2025
By Ms. Farfel
Thanks to CARPE DIEM Magazine, you now have the opportunity to establish a partnership and purchase products directly from NUJEVI’s official and authorized U.S. distributor — Prodermacare. The beauty and condition of your skin depend largely on the choices you make. Be mindful, take care of yourself, and contact us to connect with Roman Volynsky and NUJEVI’s official distributor — Prodermacare.
rodermacare is the official authorized distributor of the NUJEVI cosmeceutical line in the United States. The face and representative of the company is Roman Volynsky — a
countries around the world, offering effective solutions to slow down skin aging and maintain skin health. NUJEVI products provide therapeutic and preventive benefits and are recognized by professionals in the U.S. cosmetology and pharmaceutical industries.
P
medical aesthetician and official NUJEVI trainer. He maintains direct partnership with the manufacturer and promotes innovative products that combine science, safety, and effectiveness.
The NUJEVI cosmeceutical line is well known among professionals — cosmetologists, beauty industry experts, and medical spa staffs. Today, the brand holds a strong position not only in the United States but also in other
The NUJEVI cosmeceutical line is well known among professionals — cosmetologists, beauty industry experts, and medical spa staffs. Today, the brand holds a strong position not only in the United States but also in other
The first limitation of traditional cosmetics is that they work only on the surface of the skin. Such care helps maintain appearance but cannot address deeper issues. Against this background, cosmeceuticals emerged — a modern skincare approach combining the comfort of cosmetics with the scientifically proven efficacyof active ingredients.
Cosmeceuticals are based on scientific research and validated by clinical studies. They not only act on the skin’s surface but also penetrate deeper layers, helping address a wide range of aesthetic and dermatological concerns — from wrinkles and loss of firmness to acne, pigmentation, and irritation.
When buying a cream, we often overlook the list of ingredients. Yet it is crucial to examine them to understand which components are truly safe and effective. According to the International Nomenclature of Cosmetic Ingredients (INCI), ingredients are listed in Latin. For example, NUJEVI’s chemical peel has received a U.S. patent for its unique proprietary formula, confirming the product’s high quality and safety. The NUJEVI line’s formulations are recognized by professionals and have no analogues in the cosmetic industry.
On safety: Above all, professional and safe skincare is, above all, a philosophy — a conscious rejection of mineral oils, synthetic fragrances and dyes, and animal-derived ingredients, along with the rational use of natural resources. Ecocert certification not only verifies how cosmetics are produced but also how waste is managed. NUJEVI cosmeceuticals are among the safest and most effective product lines available. They help correct age-related changes and slow the aging process of the skin. NUJEVI’s development process prioritizes safety and effectiveness, enriching formulations with valuable biological components (multifunctional sensory ingredients). The unique innovative formulas use exclusively plant-derived ingredients.
In today’s world, cosmetics are an essential part of life for many people striving to improve their appearance, well-being, and self-confidence. The cosmeceutical industry is one of the most dynamic and competitive business sectors, constantly evolving and adapting to changing consumer needs and expectations. Consumers, in turn, are emotional, loyal, attentive to detail, and eager for self-expression. Despite the high level of competition, NUJEVI products remain among the most trusted by experienced cosmetologists, medical spas, clinics, and licensed professionals.
Cosmeceuticals are based on scientific research and validated by clinical studies. They not only act on the skin’s surface but also penetrate deeper layers, helping address a wide range of aesthetic and dermatological concerns — from wrinkles and loss of firmness to acne, pigmentation, and irritation.
When buying a cream, we often overlook the list of ingredients. Yet it is crucial to examine them to understand which components are truly safe and effective. According to the International Nomenclature of Cosmetic Ingredients (INCI), ingredients are listed in Latin. For example, NUJEVI’s chemical peel has received a U.S. patent for its unique proprietary formula, confirming the product’s high quality and safety. The NUJEVI line’s formulations are recognized by professionals and have no analogues in the cosmetic industry.
On safety: Above all, professional and safe skincare is, above all, a philosophy — a conscious rejection of mineral oils, synthetic fragrances and dyes, and animal-derived ingredients, along with the rational use of natural resources. Ecocert certification not only verifies how cosmetics are produced but also how waste is managed. NUJEVI cosmeceuticals are among the safest and most effective product lines available. They help correct age-related changes and slow the aging process of the skin. NUJEVI’s development process prioritizes safety and effectiveness, enriching formulations with valuable biological components (multifunctional sensory ingredients). The unique innovative formulas use exclusively plant-derived ingredients.
In today’s world, cosmetics are an essential part of life for many people striving to improve their appearance, well-being, and self-confidence. The cosmeceutical industry is one of the most dynamic and competitive business sectors, constantly evolving and adapting to changing consumer needs and expectations. Consumers, in turn, are emotional, loyal, attentive to detail, and eager for self-expression. Despite the high level of competition, NUJEVI products remain among the most trusted by experienced cosmetologists, medical spas, clinics, and licensed professionals.
OCTOBER 2025
Old Money.
Great Fortune and Great Responsibility
Great Fortune and Great Responsibility
Expert author's column
By Natalia Shvetsova
For years I couldn’t pinpoint what makes them so calm, so assured, so unhurried. Then it clicked: they’re not trying to “become” anyone. They’re not on a quest to find themselves or their purpose. Their task is simply not to break what was built before them. The surname is a profession; time is their most valuable asset. Henry Armitage, grandson of a coal baron, once said, “We don’t wear logos because they’re a plea to be noticed. We don’t need that.” Exactly: confidence without noise, power without performance. Old Money doesn’t pursuea career—they curate a biography, investing in long-term goals: land, education, children. As Anatoly Lunacharsky quipped, “To be a truly cultured person you need three university degrees: one your grandfather earned, one your father earned, and one you earn.”
the social media followers in the world. We call that structure Old Money, with its roots sunk deep in Protestant and Lutheran discipline. A path walked for at least three generations can form its backbone.
I’m not Old Money, and I never will be. Yet the longer I live here in sun-soaked Miami, the more I tune in to that quiet rhythm that has echoed across centuries.
That rhythm is steady, resilient—like a road map that doesn’t end after the next block but rather stretches on for generations. They live without logos, sudden moves, or the need to explain. Their goal is not to show, but to preserve. They don’t buy mansions for spectacle; they inherit the family home, complete with library, books, and portraits of ancestors. Every object stays put. Not fashion—memory.
I’m not Old Money, and I never will be. Yet the longer I live here in sun-soaked Miami, the more I tune in to that quiet rhythm that has echoed across centuries.
That rhythm is steady, resilient—like a road map that doesn’t end after the next block but rather stretches on for generations. They live without logos, sudden moves, or the need to explain. Their goal is not to show, but to preserve. They don’t buy mansions for spectacle; they inherit the family home, complete with library, books, and portraits of ancestors. Every object stays put. Not fashion—memory.
In The House of Rothschild, Nathan Rothschild never competed with other bankers—he wrote the rules. That family never embraced the idea of “every man for himself”; every profit cycled back into the system as fuel for the next step. Even marriages were strategic, kept within the clan to safeguard capital and culture. Read their story and you realize it isn’t about wealth and excess; it’s about a mindset where your business, your home, your children are all threads in a single fabric. You’re just a link—not the star, but the transmitter who keeps the line intact. That’s quietly mesmerizing.
Of course, I’m not from their world. I’m first-generation. There's no coat of arms, no centuries-old ledger, no capital from a great-grandmother. Still, I’ve begun to wonder: why shouldn’t those of us from ordinary families become the founders of systems that, a hundred years from now, someone might call a tradition? We don’t need to be Old Money. We can be the first layer of our own family systems—habits, rituals, libraries, education—that future generations will honor.
And maybe that matters even more.
Of course, I’m not from their world. I’m first-generation. There's no coat of arms, no centuries-old ledger, no capital from a great-grandmother. Still, I’ve begun to wonder: why shouldn’t those of us from ordinary families become the founders of systems that, a hundred years from now, someone might call a tradition? We don’t need to be Old Money. We can be the first layer of our own family systems—habits, rituals, libraries, education—that future generations will honor.
And maybe that matters even more.
often find myself thinking about people whose coordinates were set in another dimension. Not a different country, but a different era. Families who still joke in Latin, whose surname outweighs all
I
OCTOBER 2025
The Maya Collapse:
When the Sky Withdrew Its Gift
When the Sky Withdrew Its Gift
Science & History
By Helen Erna
Daniel James of Cambridge University, who led the study, put it simply: “It is the first time we isolated conditions of rainy seasons in the Terminal Classic period. And it is exactly those seasons that dictated survival.”
The archaeological echoes are chilling. In the same years that stalagmites record the absence of rain, Maya cities ceased carving dates onto stelae, stopped erecting monuments, and halted construction. In Chichén Itzá, stone and silence replaced ceremony. Rulers no longer immortalized dynasties; they fought to secure food and water.
The climate, once backdrop, had become the executioner. The Maya collapse was not merely political. It was ecological — an empire brought to its knees not by steel, but by sky.
The archaeological echoes are chilling. In the same years that stalagmites record the absence of rain, Maya cities ceased carving dates onto stelae, stopped erecting monuments, and halted construction. In Chichén Itzá, stone and silence replaced ceremony. Rulers no longer immortalized dynasties; they fought to secure food and water.
The climate, once backdrop, had become the executioner. The Maya collapse was not merely political. It was ecological — an empire brought to its knees not by steel, but by sky.
For decades, historians debated the riddle of the Maya decline. Was it war? Was it failing trade? Was it cultural exhaustion? Now, a cave in northern Yucatán whispers a clearer answer. From a stalagmite’s patient growth, layer upon layer of calcite holding tiny signatures of ancient rainfall, scientists have reconstructed climate records with unprecedented precision — not by decades, but by seasons, from A.D. 871 to 1021.
The revelation is stark: the Maya world did not endure occasional dry spells. It faced a sequence of devastating droughts, each one stretching for years, some for more than a decade. Eight times, rainy seasons arrived thin and failed, crushing maize harvests and emptying reservoirs. One drought lasted thirteen consecutive years. Even the Maya’s sophisticated water storage systems — reservoirs, canals, and cisterns — could not withstand such relentless strain.
The revelation is stark: the Maya world did not endure occasional dry spells. It faced a sequence of devastating droughts, each one stretching for years, some for more than a decade. Eight times, rainy seasons arrived thin and failed, crushing maize harvests and emptying reservoirs. One drought lasted thirteen consecutive years. Even the Maya’s sophisticated water storage systems — reservoirs, canals, and cisterns — could not withstand such relentless strain.
While climate science explains the crisis, archaeology continues to uncover the richness — and resilience — of Maya culture. Three discoveries in recent months paint a fuller picture:
A Civilization Twice the Size We Imagined
Recent lidar surveys across Guatemala, Belize, and Mexico revealed vast networks of causeways, fortifications, and farmland. At its peak, the Maya world supported nearly 16 million people — twice New York City’s population today. This challenges the old view of scattered jungle cities; instead, the Maya resembled a densely connected super-metropolis stretching across the lowlands.
The Tomb of a Founding King
Excavations at Caracol in Belize unearthed what may be the royal tomb of Te K’ab Chaak, a founding ruler from around A.D. 350. Rich with jade, carvings, and trade iconography, the burial suggests that the Maya were engaged in diplomatic and cultural exchanges with Teotihuacán centuries earlier than previously thought. It redraws the map of Mesoamerican alliances and influence.
The Oldest “Grandparent City”
In May 2025, archaeologists in Guatemala announced the discovery of a 3,000-year-old Maya urban site nicknamed “The Grandparents.” Its monumental plazas and ritual platforms push back the origins of Maya city-building, showing that urban experimentation began far earlier — hinting at a deep tradition of continuity, not sudden emergence.
A Civilization Twice the Size We Imagined
Recent lidar surveys across Guatemala, Belize, and Mexico revealed vast networks of causeways, fortifications, and farmland. At its peak, the Maya world supported nearly 16 million people — twice New York City’s population today. This challenges the old view of scattered jungle cities; instead, the Maya resembled a densely connected super-metropolis stretching across the lowlands.
The Tomb of a Founding King
Excavations at Caracol in Belize unearthed what may be the royal tomb of Te K’ab Chaak, a founding ruler from around A.D. 350. Rich with jade, carvings, and trade iconography, the burial suggests that the Maya were engaged in diplomatic and cultural exchanges with Teotihuacán centuries earlier than previously thought. It redraws the map of Mesoamerican alliances and influence.
The Oldest “Grandparent City”
In May 2025, archaeologists in Guatemala announced the discovery of a 3,000-year-old Maya urban site nicknamed “The Grandparents.” Its monumental plazas and ritual platforms push back the origins of Maya city-building, showing that urban experimentation began far earlier — hinting at a deep tradition of continuity, not sudden emergence.
Photo by Laura LaBrie on Unsplash.
Photo by Falco Negenman on Unsplash.
Beyond the Drought: New Windows into the Maya World
The Maya did not vanish. Their descendants live across Mesoamerica, carrying languages, traditions, and resilience into the 21st century. But the story of their ancestors warns us: sophisticated cities, even with advanced engineering, can falter when the climate tilts beyond endurance.
The stalagmites of Yucatán, silent archivists of the past, remind us of civilization’s fragility. The Maya left pyramids and glyphs, but also a message carved in absence: no dynasty is stronger than the rhythm of the rain.
The stalagmites of Yucatán, silent archivists of the past, remind us of civilization’s fragility. The Maya left pyramids and glyphs, but also a message carved in absence: no dynasty is stronger than the rhythm of the rain.
The Lesson Carved in Stone and Sky
ivilizations rarely vanish overnight. They erode, falter, resist, and finally yield — not to armies alone, but to forces much older and stronger than politics. The Classic Maya, the
C
architects of towering pyramids and celestial calendars, discovered this truth a millennium ago when the heavens turned against them.
OCTOBER 2025
"The World of Art is Not Pain."
Collector's stories
By Diana Gam
Interview with the Buddhist artist Mikhail Molochnikov
Moscow and gave us an interesting tour of his work. However, about everything in order.
Mikhail, everyone knows you as a Buddhist artist. You are known as a participant in the most significant group and solo exhibitions in Russia and abroad, your works are in the collections of iconic museums worldwide, as well as with renowned collectors.
Mikhail, everyone knows you as a Buddhist artist. You are known as a participant in the most significant group and solo exhibitions in Russia and abroad, your works are in the collections of iconic museums worldwide, as well as with renowned collectors.
ikhail Molochnikov — about sources of inspiration, philosophy and attitude to contemporary art.
Mikhail welcomed us hospitably in his apartment in
Mikhail welcomed us hospitably in his apartment in
M
DG: How did your creative journey begin?
MM: My creative journey started rather strangely because I suffer from dyslexia. All my relatives held important positions, except for my father, who was an athlete. My mother once said: 'Misha, you could be an architect, you’re so good at building houses from Lego.'
She enrolled me in drawing classes, and while I received top grades in the subjects, there was also dictation, which became a problem. My mother solved it the old-fashioned way, by arranging something with the teacher. When checking my work, the teacher said: 'Mikhail, at least you could have avoided putting commas everywhere.'
So that’s how my path began — with architectural college.
My first works were sold by the cultural scholar Inna Solovyova in the Mars Gallery in the late 1980s. Then I met the collector Nikolai Shchukin, who took my works to London, to Cambridge. Nikolai organized group exhibitions with well-known artists, and my works ended up among them, even though I was much younger. That’s how it all started: exhibitions, collectors, museums acquiring my works.
MM: My creative journey started rather strangely because I suffer from dyslexia. All my relatives held important positions, except for my father, who was an athlete. My mother once said: 'Misha, you could be an architect, you’re so good at building houses from Lego.'
She enrolled me in drawing classes, and while I received top grades in the subjects, there was also dictation, which became a problem. My mother solved it the old-fashioned way, by arranging something with the teacher. When checking my work, the teacher said: 'Mikhail, at least you could have avoided putting commas everywhere.'
So that’s how my path began — with architectural college.
My first works were sold by the cultural scholar Inna Solovyova in the Mars Gallery in the late 1980s. Then I met the collector Nikolai Shchukin, who took my works to London, to Cambridge. Nikolai organized group exhibitions with well-known artists, and my works ended up among them, even though I was much younger. That’s how it all started: exhibitions, collectors, museums acquiring my works.
DG: It is believed that people of creative professions are 'healers of souls.' What is your mission as an artist, how does your art affect people?
MM: My mission as an artist is to treat art as meditation and a given. When you do your work, forces help you. My works are part of the collections of the Russian Museum, the Tretyakov Gallery, the Ludwig Museum, and others. My pieces are mostly acquired by intellectuals. I work slowly — each piece takes me about two weeks, because the process matters to me. Paper is intimate for me.
Once I was given canvases and paints, but I couldn’t create anything, because the material wasn’t mine. But when I see good paper, I immediately know what to draw. In 61 years, I have never experienced creative crises.
I believe that art must carry strength and energy. My works bring people joy. Everyone sees something different. Sometimes I get messages like: 'Misha, your work is so sexual that I get aroused looking at it.' Others say they see mystical meanings in them.
MM: My mission as an artist is to treat art as meditation and a given. When you do your work, forces help you. My works are part of the collections of the Russian Museum, the Tretyakov Gallery, the Ludwig Museum, and others. My pieces are mostly acquired by intellectuals. I work slowly — each piece takes me about two weeks, because the process matters to me. Paper is intimate for me.
Once I was given canvases and paints, but I couldn’t create anything, because the material wasn’t mine. But when I see good paper, I immediately know what to draw. In 61 years, I have never experienced creative crises.
I believe that art must carry strength and energy. My works bring people joy. Everyone sees something different. Sometimes I get messages like: 'Misha, your work is so sexual that I get aroused looking at it.' Others say they see mystical meanings in them.
DG: What music accompanies your creative process? Are there works that fit your art?
MM: Mostly classical — especially Bach. I also love the music of North India, meditative music, and avant-garde jazz — Miles Davis, Eric Dolphy. In my youth, my mother would buy me subscriptions to avant-garde concerts. Since then, jazz has been part of me.
For me, art and music are one: they nourish each other. When I paint, nothing distracts me. Even if the kids ask me for something — say, to bring milk — I do it and immediately reenter the flow.
The most important thing is being in the flow while doing your work. Since I am a Buddhist, my works are also in Tibetan monasteries. For me, painting is like a mantra.
DG: Does the environment influence your works? How do you come up with titles for them?
MM: Of course it does. For example, in Germany I was drawn to black-and-white works, while in Moscow I lean toward color.
MM: Mostly classical — especially Bach. I also love the music of North India, meditative music, and avant-garde jazz — Miles Davis, Eric Dolphy. In my youth, my mother would buy me subscriptions to avant-garde concerts. Since then, jazz has been part of me.
For me, art and music are one: they nourish each other. When I paint, nothing distracts me. Even if the kids ask me for something — say, to bring milk — I do it and immediately reenter the flow.
The most important thing is being in the flow while doing your work. Since I am a Buddhist, my works are also in Tibetan monasteries. For me, painting is like a mantra.
DG: Does the environment influence your works? How do you come up with titles for them?
MM: Of course it does. For example, in Germany I was drawn to black-and-white works, while in Moscow I lean toward color.
Nature also influences me. My younger daughter Michelle once found a leaf in Spain — I didn’t even know what plant it was — and an entire series came out of it.
DG: What associations bring you back to pleasant life moments?
MM: My life is full of happy moments. The world of art is not pain. When you create, your works must have strength and energy. I have three children, and there is no room for unpleasant associations in my life. When they play musical instruments, when I see their joy — those are the happiest moments of my life.
DG: Do you think people buy just an artwork, or a piece of the artist’s personality?
MM: Recently a woman wrote to me on Facebook: 'I want to buy a work.' She was far from the world of art, but she felt the energy of the painting. For her, it was a portal.
There are collectors who buy 'by the list,' simply because they reach that page in the catalog. It happened oddly: a man once called me and said, 'I buy two works from everyone, give me yours as well.' He took them and disappeared.
Others buy because my work hangs in museums alongside Aivazovsky or Shishkin. Everyone has their own motivation, but there is always energy and response. Some of my works dissolve into private collections, and I don’t even know where they are. But I dream of someday putting together an exhibition from private collections.
MM: My life is full of happy moments. The world of art is not pain. When you create, your works must have strength and energy. I have three children, and there is no room for unpleasant associations in my life. When they play musical instruments, when I see their joy — those are the happiest moments of my life.
DG: Do you think people buy just an artwork, or a piece of the artist’s personality?
MM: Recently a woman wrote to me on Facebook: 'I want to buy a work.' She was far from the world of art, but she felt the energy of the painting. For her, it was a portal.
There are collectors who buy 'by the list,' simply because they reach that page in the catalog. It happened oddly: a man once called me and said, 'I buy two works from everyone, give me yours as well.' He took them and disappeared.
Others buy because my work hangs in museums alongside Aivazovsky or Shishkin. Everyone has their own motivation, but there is always energy and response. Some of my works dissolve into private collections, and I don’t even know where they are. But I dream of someday putting together an exhibition from private collections.
DG: Which modern and classical artists inspire you?
MM: I adore Dmitry Leon. I greatly admire Batynkov, my peer. I own Japanese prints, works by Sulyagin, Pistolet-Parabellum, Tishkov. For example, Tishkov once gave my daughter a watercolor — he drew a 'double' she loved to sleep on. It became for her a symbol that she is a collector.
I have about 200 works in my collection, and I deeply enjoy collecting.
DG: Tell us the story of a particularly significant work in your collection.
MM: Once Vladimir Sulyagin wanted to give me a collage with a mask from Congo, but hesitated for a long time. Years later, he finally did. That work has a special destiny — he didn’t want to part with it, but eventually it ended up with me. Some artists find it very difficult to let go of their works, and those are always special stories.
DG: What is your attitude toward manifestos in art?
MM: I once had a funny experience: Sulyagin, instead of selling works, began reading his manifesto to collectors. We listened, but it was rather banal. Years later, he called me and said: 'I’ve finished the manifesto, I want to read it again.' But the collectors no longer wanted to listen.
It showed me that words are not always important. The works themselves are much more significant.
If you were a journalist, what would you ask an artist? That’s a tricky question… If I were a journalist… well, first of all, I wouldn’t be a journalist. I could be a magazine editor, because I always take on other roles. If I were an artist asking questions, I would ask about books.
At one time, I was very interested in Malevich. Yesterday I was at the Malevich Park — what a park they built! Malevich was a very interesting figure. Back then I wondered whether he read books. It was such an obsessive idea, because I had Malevich’s diary and I read his manifestos.
I asked the late Vitaly Patsyukov, a major Malevich expert, whether Malevich had books. He told me he didn’t. Later I asked Sasha Shatskikh, who lives in New York and is one of the foremost specialists on Russian avant-garde. I asked her: 'Sasha, did Malevich have books or not? Was he educated or not?' She said: 'No, he didn’t. He was simply a genius in life.'
That amazed me.
I would ask about books: Do you read? Artists can be very different: some are intellectuals, others come 'straight from the plow,' but are talented. And I would also ask: 'Do you fulfill your mission?' Because talent is given from above, and it should bring joy to people, not lie idle. I would always ask about the inner path, not just about technique.
MM: I adore Dmitry Leon. I greatly admire Batynkov, my peer. I own Japanese prints, works by Sulyagin, Pistolet-Parabellum, Tishkov. For example, Tishkov once gave my daughter a watercolor — he drew a 'double' she loved to sleep on. It became for her a symbol that she is a collector.
I have about 200 works in my collection, and I deeply enjoy collecting.
DG: Tell us the story of a particularly significant work in your collection.
MM: Once Vladimir Sulyagin wanted to give me a collage with a mask from Congo, but hesitated for a long time. Years later, he finally did. That work has a special destiny — he didn’t want to part with it, but eventually it ended up with me. Some artists find it very difficult to let go of their works, and those are always special stories.
DG: What is your attitude toward manifestos in art?
MM: I once had a funny experience: Sulyagin, instead of selling works, began reading his manifesto to collectors. We listened, but it was rather banal. Years later, he called me and said: 'I’ve finished the manifesto, I want to read it again.' But the collectors no longer wanted to listen.
It showed me that words are not always important. The works themselves are much more significant.
If you were a journalist, what would you ask an artist? That’s a tricky question… If I were a journalist… well, first of all, I wouldn’t be a journalist. I could be a magazine editor, because I always take on other roles. If I were an artist asking questions, I would ask about books.
At one time, I was very interested in Malevich. Yesterday I was at the Malevich Park — what a park they built! Malevich was a very interesting figure. Back then I wondered whether he read books. It was such an obsessive idea, because I had Malevich’s diary and I read his manifestos.
I asked the late Vitaly Patsyukov, a major Malevich expert, whether Malevich had books. He told me he didn’t. Later I asked Sasha Shatskikh, who lives in New York and is one of the foremost specialists on Russian avant-garde. I asked her: 'Sasha, did Malevich have books or not? Was he educated or not?' She said: 'No, he didn’t. He was simply a genius in life.'
That amazed me.
I would ask about books: Do you read? Artists can be very different: some are intellectuals, others come 'straight from the plow,' but are talented. And I would also ask: 'Do you fulfill your mission?' Because talent is given from above, and it should bring joy to people, not lie idle. I would always ask about the inner path, not just about technique.
Photo: Red line gallery
Photo: Red line gallery
Photo: Red line gallery
Photo: Red line gallery
Photo: Red line gallery
OCTOBER 2025
Trust Yourself with New Fashion Trends 2025-2026
By Ms Farfel
Cycle: "The Future Today"
he new trends of the fashion houses remind us that femininity comes in different forms: classic femininity, like at DIOR, or elegant and understated, like at Chanel. Today, we
T
more and more often hear about the strength of a woman’s character. This tendency is reflected in the fashion industry as well: ties, statement blazers “borrowed from men’s shoulders,” oversized shirts remaining among the leading trends. “Strong, independent, and fashionable.”
Clothing withringe, sequins, sparkles, and shimmer—a trend that has flooded the runways in recent seasons. I recommend that you not be afraid to wear bright accessories. They will highlight your uniqueness and add emphasis to what might seem like a strict business look. Scarves, brooches, clips, bracelets, and acrylic beads are used by many famous designers on the catwalk. These accessories remind us that the style of the 1960s–70s is timeless and has already become a classic, stylish addition to the image. Leopard print is also not ready to step aside; in fact, in the coming year it will only become more popular—both in men’s and women’s wardrobes. If you’re not a fan of leopard print but still want to follow
fashion, we recommend wearing leopard shoes or a leopard bag, as demonstrated by Dolce & Gabbana and Valentino. The milky-green color from PRADA, paired with coffee tones, represents timeless elegance and femininity. Their collections show this in every cut and every seam. Fashion trends of the outgoing 2025 and the boldly emerging 2026 will become a new starting point for those who love to experiment, challenging conventions.
The colors that took the lead for 2026 are:
Transformative Teal, Electric Fuchsia, Blue Aura, Amber Haze, and Jelly Mint.
Transformative Teal, Electric Fuchsia, Blue Aura, Amber Haze, and Jelly Mint.
Main Prints 2025–2026
The further the “quiet luxury” trend recedes into the past, the more prints appear on the runways—from polka dots and python to stripes and checks of various kinds. Checks and flowers, stripes and dots, paisley and bold ornaments: combining several prints in one look is gaining momentum. This is a unique combination of what might first seem incompatible.
One of the most popular types of checks comes from Scotland. Inspired by Miu-Miu, we make it the base of the look.
Polka dots are honored in all their forms, sizes, and colors—and the more noticeable, the better.
Polka Dots Large and Small
Scotland Checks
Lines can be vertical, horizontal, or even diagonal, as in Gucci’s cruise collection. Don’t be afraid to mix different variations from different brands, adding a statement accessory or bright, unusual glasses to completeyour unique and elegant look.
Stripes
Designers from various fashion houses use python: sometimes dressing models in it from head to toe, sometimes using it only as accent details in the look. Leopard and python have returned to a strong position and appear in collections of the most famous designers—in both clothing and accessories. Leopard-print bags and shoes are very popular.
Python and Leopard Again
Personalized care.
Compassionate and unhurried interactions.
Compassionate and unhurried interactions.
OCTOBER 2025
Loire Valley, France. Photo from the artist's archive
Photo from OakeyDoakey.com archive
Photo from the artist's archive
AO: Artem, how did your journey as an artist begin?
AM: It began after a life-changing moment. At 17, I sustaineda nearly fatal liver injury. When you come face-to-face with death, you quickly realize that there’s no time to waste. I asked myself what I truly wanted to do with my life — and the answer was clear. Drawing hadalways comemost naturally to me. It’s not just what I do — it’s who I am. From that moment on, I knew I’d dedicate myself to making art.
AO: When did you start to feel recognized in the art world?
AM: Honestly, I still don’t feel particularly “recognized.” I’m known in certain Russian- American circles, of course, but I believe artistic visibility and mastery are both endless pursuits. That said, a major shift happened around 2012 when I started curating exhibitions. This gave me new exposure, connected me with galleries and collectors, and deepened my understanding of the art world.
AO: Tell me about your first exhibition.
AM: It was in 2000, right after I graduated from art school in New York. It went surprisingly well — I sold about a third of the works. That early success emboldenedme to pursue life as a full-time artist instead of taking the safer route of becoming an illustrator.
AO: How do you manage the business side of art?
AM: It’s not my favorite part, but it’s necessary. As Alexander Ponomarev once told me: “The main creative, PR guy, and salesman in your life is you.” That stuck with me. Ideally, I’d just stay in my studio and create, maybe show my work two or three times a year. But today’s reality requires us to promote and sell. That said, the best fairs are the ones where the work speaks for itself — and sells.
AO: You split your time between Miami and New York. How do they compare?
AM: Miami is like a magical princess who throws an unforgettable ball once a year — during Art Basel. New York is a tireless worker — a daily grind, constant, deeply embedded in the art world. I love both, but New York will always be the true epicenter for serious collectors.
AO: How does your family life influence your work?
AM: It keeps me grounded. My wife has been my muse from the very beginning — I startedsketching her within minutes of meeting her. She’s stunning, dignified, and incredibly supportive. She not only inspires me but helps manage the practical side of things. That kind of emotional and logistical support is invaluable.
AO: What’s your advice to emerging artists?
AM: Early on, say yes to everything: fairs, shows, residencies, competitions — paid or unpaid. Social media matters too. Ideally, you’ll find a gallery torepresents you at fairs. But if not — come knock on my door. I represent artists commercially, if their work aligns with our vision.
AM: It began after a life-changing moment. At 17, I sustaineda nearly fatal liver injury. When you come face-to-face with death, you quickly realize that there’s no time to waste. I asked myself what I truly wanted to do with my life — and the answer was clear. Drawing hadalways comemost naturally to me. It’s not just what I do — it’s who I am. From that moment on, I knew I’d dedicate myself to making art.
AO: When did you start to feel recognized in the art world?
AM: Honestly, I still don’t feel particularly “recognized.” I’m known in certain Russian- American circles, of course, but I believe artistic visibility and mastery are both endless pursuits. That said, a major shift happened around 2012 when I started curating exhibitions. This gave me new exposure, connected me with galleries and collectors, and deepened my understanding of the art world.
AO: Tell me about your first exhibition.
AM: It was in 2000, right after I graduated from art school in New York. It went surprisingly well — I sold about a third of the works. That early success emboldenedme to pursue life as a full-time artist instead of taking the safer route of becoming an illustrator.
AO: How do you manage the business side of art?
AM: It’s not my favorite part, but it’s necessary. As Alexander Ponomarev once told me: “The main creative, PR guy, and salesman in your life is you.” That stuck with me. Ideally, I’d just stay in my studio and create, maybe show my work two or three times a year. But today’s reality requires us to promote and sell. That said, the best fairs are the ones where the work speaks for itself — and sells.
AO: You split your time between Miami and New York. How do they compare?
AM: Miami is like a magical princess who throws an unforgettable ball once a year — during Art Basel. New York is a tireless worker — a daily grind, constant, deeply embedded in the art world. I love both, but New York will always be the true epicenter for serious collectors.
AO: How does your family life influence your work?
AM: It keeps me grounded. My wife has been my muse from the very beginning — I startedsketching her within minutes of meeting her. She’s stunning, dignified, and incredibly supportive. She not only inspires me but helps manage the practical side of things. That kind of emotional and logistical support is invaluable.
AO: What’s your advice to emerging artists?
AM: Early on, say yes to everything: fairs, shows, residencies, competitions — paid or unpaid. Social media matters too. Ideally, you’ll find a gallery torepresents you at fairs. But if not — come knock on my door. I represent artists commercially, if their work aligns with our vision.
ew York–based artist Artem Mirolevich is a storyteller, a visionary who observes human civilization through myth, humor, and the cosmic scale. Through his work, which spans
An Interview with Artem Mirolevich
Series of interviews
Stories in Layers
AO: What about patrons or collectors — do you have anyone like that?
AM: I don't have justone official patron, but rather several incredible long-term collectors and friends. One of them, Alexander Rosman, who owns over 30 of my works, some of them major. Another is from the Rothschild family . Their collection includes over 10 of my pieces — one hanging beside a Rembrandt, another beside a Warhol. I also live in a residency program where I receive housing in exchange for teaching weekly art classes — it began with me, and hasexpanded to 10 artists in 10 buildings. I consider it a form of modern philanthropy.
AO: How would you describe your artistic style?
AM: I’m a storyteller. My paintings are visual narratives — full of detail, mystery, and metaphor. I explore themes such as the “Mothership,” the Tower of Babel, the absurdity and beauty of modern civilization. You’ll often find alien figures in my work — inspired by a quote from Boris Grebenshchikov: “Why assume aliens are still coming? Maybe they already came — and left.” I love that. I play with that idea.
AO: And what about abstract art — is it part of your practice?
AM: Every painting of mine starts as an abstraction — chaos, color, structure — but then evolves into narrative. I’ve never fully embraced abstraction. I find more purpose in telling visual stories. Still… I once created a series of abstract works, and a collector convinced me to leave one untouched. Ironically, it ended up being the best piece of the whole series. So yes— I contradict myself. And I think that’s healthy.
AO: What’s your boldest dream as an artist?
AM: I have many — but one that feels within reach is a solo show at MoMA. I have a concept I’ve developed over several years and even received a grant to begin working on it. It’s a large project that would involve other artists — which excites me even more. Another dream? A museum dedicated to my work. But if nothing else — I’d be happy with a house by the ocean, where I can live, create, and show my art under one roof. A personal sanctuary… and maybe a museum on the side. [laughs]
AM: I don't have justone official patron, but rather several incredible long-term collectors and friends. One of them, Alexander Rosman, who owns over 30 of my works, some of them major. Another is from the Rothschild family . Their collection includes over 10 of my pieces — one hanging beside a Rembrandt, another beside a Warhol. I also live in a residency program where I receive housing in exchange for teaching weekly art classes — it began with me, and hasexpanded to 10 artists in 10 buildings. I consider it a form of modern philanthropy.
AO: How would you describe your artistic style?
AM: I’m a storyteller. My paintings are visual narratives — full of detail, mystery, and metaphor. I explore themes such as the “Mothership,” the Tower of Babel, the absurdity and beauty of modern civilization. You’ll often find alien figures in my work — inspired by a quote from Boris Grebenshchikov: “Why assume aliens are still coming? Maybe they already came — and left.” I love that. I play with that idea.
AO: And what about abstract art — is it part of your practice?
AM: Every painting of mine starts as an abstraction — chaos, color, structure — but then evolves into narrative. I’ve never fully embraced abstraction. I find more purpose in telling visual stories. Still… I once created a series of abstract works, and a collector convinced me to leave one untouched. Ironically, it ended up being the best piece of the whole series. So yes— I contradict myself. And I think that’s healthy.
AO: What’s your boldest dream as an artist?
AM: I have many — but one that feels within reach is a solo show at MoMA. I have a concept I’ve developed over several years and even received a grant to begin working on it. It’s a large project that would involve other artists — which excites me even more. Another dream? A museum dedicated to my work. But if nothing else — I’d be happy with a house by the ocean, where I can live, create, and show my art under one roof. A personal sanctuary… and maybe a museum on the side. [laughs]
N
drawing, collage, and etching, he captures visual narratives layered with detail, symbolism, and philosophical weight — often with a touch of extraterrestrial curiosity. In this candid conversation, we discuss his journey, his creative process, and what it means to keep making art in a world that demands both passion and practicality.
Artem Mirolevich’s work is a rare blend of playfulness, symbolism, and depth. He invites us into a world both strange and familiar, rich with detail and meaning, humor and hope.
Artem Mirolevich’s work is a rare blend of playfulness, symbolism, and depth. He invites us into a world both strange and familiar, rich with detail and meaning, humor and hope.
By Anastasia Oakey
OCTOBER 2025
Book of the Month
here is a ramen shop called "T" on Yasukuni Street in the Shinjuku district. Could you try the ramen with butter there and share your thoughts? However, if you eat ramen just like
By Olga Kirina
Cycle: What to read to a geodonist?
Additionally, you will find here a wonderful depiction of Japanese life, traditions of relationships, lifestyle, and Asian cuisine. Surprisingly, the book contains such detailed recipes that you’ll be tempted to head for the stove and start cooking the simplest meals. And by the end of the book—you’ll be roasting a real turkey in the best Japanese traditions for dinner. Everything is described so vividly that I began cooking at home almost every day and trying the most unusual combinations for a European reader:
Transferring the glistening spaghetti from the colander to a deep plate, she took butter from the fridge, a jar of tarako, and pre-washed shiso leaves, whose rich green color reminded her of summer.
As I read, I often felt as if I were traveling across Japan in a comfortable modern train. I experienced cozy December Tokyo, a warm dairy farm in snowy Niigata, tranquil spring in Kawasaki, and then once again hanami—the blooming of cherry blossoms—once again in Tokyo.
Autumn, winter, spring, summer, and autumn again… but this time told in the language of a gourmet, a book for slow reading and meditation.
More than 100,000 copies of the novel Butter have been sold in Japan.
Transferring the glistening spaghetti from the colander to a deep plate, she took butter from the fridge, a jar of tarako, and pre-washed shiso leaves, whose rich green color reminded her of summer.
As I read, I often felt as if I were traveling across Japan in a comfortable modern train. I experienced cozy December Tokyo, a warm dairy farm in snowy Niigata, tranquil spring in Kawasaki, and then once again hanami—the blooming of cherry blossoms—once again in Tokyo.
Autumn, winter, spring, summer, and autumn again… but this time told in the language of a gourmet, a book for slow reading and meditation.
More than 100,000 copies of the novel Butter have been sold in Japan.
Asako Yuzuki
A novel about a serial killer, based on real events.
A novel about a serial killer, based on real events.
T
that, the taste won’t be the same. Special conditions are needed to truly appreciate this dish. It's best to eat it after sex, somewhere between three and four in the morning. As for the weather… the colder, the better. Right now is the perfect time.
Despite its criminal undertones, this is not a detective story. It is more of a journey novel. The heroine—a journalist writing articles about a serial killer—embarks on a kind of quest, trying to understand the accused: she fulfills certain conditions, gains permission for the next meeting with the prisoner, and discovers a new recipe or a new taste. New to herself. And in this way, she changes beyond recognition. In other words, Butter is also a philosophical novel about a journey inward. It turns out to be a very feminine book: about traditions, prejudices, the pressure of public opinion, and emancipation.
Despite its criminal undertones, this is not a detective story. It is more of a journey novel. The heroine—a journalist writing articles about a serial killer—embarks on a kind of quest, trying to understand the accused: she fulfills certain conditions, gains permission for the next meeting with the prisoner, and discovers a new recipe or a new taste. New to herself. And in this way, she changes beyond recognition. In other words, Butter is also a philosophical novel about a journey inward. It turns out to be a very feminine book: about traditions, prejudices, the pressure of public opinion, and emancipation.
BUTTER
Habits of the Upper Classes
that Transform
Thinking and Income
that Transform
Thinking and Income
By Diana Gam
Cycle: "Reboot"
orning hours are considered peak times for brain activity. Many successful entrepreneurs, writers, and scientists note that these early hours are particularly
MAKING A DAILY TO-DO LIST
There are numerous advantages to planning your day.
Having all tasks laid out makes it easier to identify
what's most important and urgent, while postponing less
critical ones. This helps prevent distraction by minor
details.
There are numerous advantages to planning your day.
Having all tasks laid out makes it easier to identify
what's most important and urgent, while postponing less
critical ones. This helps prevent distraction by minor
details.
THINKING BIG
To achieve genuinely meaningful outcomes, it's
necessary to think beyond one's current mental
boundaries. There's no harm in dividing this path into
small, manageable interim objectives. The key point here
is that a grand, seemingly unreachable goal spurs
exploration of non-obvious routes towards achieving it.
INVESTING IN YOURSELF
Each course, seminar, workshop, every journey and new
encounter contributes significantly to both personal and
professional development. Expanding your horizons
always has positive effects on overall life quality
To achieve genuinely meaningful outcomes, it's
necessary to think beyond one's current mental
boundaries. There's no harm in dividing this path into
small, manageable interim objectives. The key point here
is that a grand, seemingly unreachable goal spurs
exploration of non-obvious routes towards achieving it.
INVESTING IN YOURSELF
Each course, seminar, workshop, every journey and new
encounter contributes significantly to both personal and
professional development. Expanding your horizons
always has positive effects on overall life quality
OCTOBER 2025
M
STARTING THE DAY EARLY
effective for solving complex problems, making decisions, and fostering creativity.
ne of Israel’s leading physicians, Dr. Mark Litvak, consistently stands at the forefront of medical innovation.
A renowned scientist and inventor, he holds numerous patents in the field of medicine. Today, Dr. Mark
A renowned scientist and inventor, he holds numerous patents in the field of medicine. Today, Dr. Mark
O
Litvak is the world’s only specialist applying oral stem cell–based treatments, making his approach unique and revolutionary in modern medical practice.
His pioneering methods are successfully used in the treatment of serious conditions such as autism, various types of cancer, myocarditis, Parkinson’s disease, Alzheimer’s disease, muscular dystrophy, and many other complex illnesses.
Thanks to his groundbreaking approach and profound expertise, Dr. Litvak attracts patients from around the globe — offering hope to those suffering from chronic and hard-to-treat diseases, and providing them with access to cutting-edge therapies.
For contact details, please reach out to CARPE DIEM. Email: carpediemmag25@gmail.com
His pioneering methods are successfully used in the treatment of serious conditions such as autism, various types of cancer, myocarditis, Parkinson’s disease, Alzheimer’s disease, muscular dystrophy, and many other complex illnesses.
Thanks to his groundbreaking approach and profound expertise, Dr. Litvak attracts patients from around the globe — offering hope to those suffering from chronic and hard-to-treat diseases, and providing them with access to cutting-edge therapies.
For contact details, please reach out to CARPE DIEM. Email: carpediemmag25@gmail.com
OCTOBER 2025
Fashion on the Plate –
Accessible Pleasure
Accessible Pleasure
Famous fashion houses and their café-fashion
By Ms. Farfel
pening cafés under the names of famous fashion houses is a smart move. This attracts potential clients who are interested not only in fashion but also in the brand’s lifestyle. Style is felt not only in clothing but also in the menu. Let us take you on a walk through fashionable places with names you already know. The world of fashion is not just catwalks and models. Fashion also lives in restaurants with their famous
O
PRADA and dessert—what a unique combination! All of desserts are made from high-quality ingredients with the least amount of sugar possible. We always remember that fashion is YOU, and YOU are health. A delicious dessert on an elegant plate is allowed. Allow yourself something sweet and fashionable with CARPE DIEM.
PRADA
Miami Design District (London, UK. NY, US). Since 1913, Prada has been synonymous with avant-garde style.
Miami Design District (London, UK. NY, US). Since 1913, Prada has been synonymous with avant-garde style.
chefs who have been awarded Michelin stars—chefs who are in a way culinary designers of fashion runways. Fashion houses have begun collaborating with the world of culinary elites. In our articles, we will keep you updated on the latest and most interesting news of this delicious world.
GUCCI
Gucci Osteria Beverly Hills – awarded a Michelin star in the prestigious MICHELIN Guide California 2021. Chef Mattia Agazzi has made a unique contribution to the menu of this fashionable place. Italian modernism in food with unique classical recipes using local Californian products.
Gucci Osteria Beverly Hills – awarded a Michelin star in the prestigious MICHELIN Guide California 2021. Chef Mattia Agazzi has made a unique contribution to the menu of this fashionable place. Italian modernism in food with unique classical recipes using local Californian products.
The design of this café embodies the unique and iconic era of MODERN and AVANT-GARDE together—geometric porcelain, iconic pistachio color in the interior, and fine porcelain tableware. PRADA is always above all—timeless. The brand itself is FASHION and taste.
TIFFANY
Blue Box Café in NY
Blue Box Café in NY
Chef Daniel Boulud, a Michelin-starred and talented chef and restaurateur, created the menu: “Breakfast at Tiffany’s”—available any time of day. In a space designed by Peter Marino in Tiffany’s signature turquoise, a private dining area, café, and bar.
BURBERRY
Thomas’s Café by Burberry, London – A wonderful breakfast menu, and truly unique in that they offer high-quality farm products in their dishes, supporting local producers. The pleasant music and cozy atmosphere make this café ideal for business meetings or simply to have breakfast alone and set yourself up for a wonderful new day. Every dish served here is as impeccable as the fashion house itself.
In these places, food is not secondary. Pay attention to every dish and who is behind its preparation. Today’s market is oversaturated and accessible to everyone, and it is hard to surprise anyone—especially those who travel a lot. That is why it is always important to pay attention to the chefs—who is cooking, and what the main dish of the day is in each of these iconic places.
Thomas’s Café by Burberry, London – A wonderful breakfast menu, and truly unique in that they offer high-quality farm products in their dishes, supporting local producers. The pleasant music and cozy atmosphere make this café ideal for business meetings or simply to have breakfast alone and set yourself up for a wonderful new day. Every dish served here is as impeccable as the fashion house itself.
In these places, food is not secondary. Pay attention to every dish and who is behind its preparation. Today’s market is oversaturated and accessible to everyone, and it is hard to surprise anyone—especially those who travel a lot. That is why it is always important to pay attention to the chefs—who is cooking, and what the main dish of the day is in each of these iconic places.
They truly follow fashion not only on the runways but also in unique dishes and their preparation methods.
In 2026, culinary fashion will focus on seafood, and Asian and Middle Eastern flavors and ingredients will be in demand. Food designed not primarily to satisfy hunger, but to make guests experience emotions, discover new ideas, technologies, unique and rare products, and ingredients.
Maximum preservation of the product’s original qualities and taste, minimal processing plus a touch of sauce to highlight or enhance the main ingredient, and a garnish that complements it well—this is the new trend of haute cuisine. True haute cuisine is Fashion and ART, all on one plate. New trends in fashionable food prepare us only for the best—harmony in flavors and proportions!
If you enjoy fashion show, then following fashion not only on the runway but also on a porcelain plate is a fascinating activity. In our section, we will always keep you updated on the novelties of this culinary fashion at the global level. Just like haute couture or avant-garde cinema, haute cuisine has its own audience. Haute cuisine is for connoisseurs, not for the masses. Subscribe to our magazine—at CARPE DIEM, there will always be a good and healthy appetite for everything delicious and unusual!
OCTOBER 2025
Nantucket Red:
The Faded Symbol of an Island
The Faded Symbol of an Island
By Helen Erna
Cycle: "Guide to aesthetics of influence"
And when the sun sets, another face of the island awakens. Nantucket is not only about oysters and ocean breezes—it is also a stage for art and philanthropy. Private galleries open their doors to candlelit vernissages, where contemporary installations meet old maritime maps in an unlikely harmony. The calendar brims with charity auctions, literary salons, and open-air concerts, where champagne flows as freely as the Atlantic wind. These gatherings, polished and intimate, are less about spectacle than about reaffirming a certain code of belonging—what locals half-jokingly call “the island’s true currency.”
he glossy allure—and occasional quiet decline—of elite enclaves recently returned to screens with The Perfect Couple, Nicole Kidman’s new mini-series. Though filmed not on Nantucket
ocean breathes in time with you. From there, many drift to the island’s bakeries for cinnamon buns or fresh bread. Simple rituals, yet infused with a kind of curated ease.
What strikes an outsider most is the balance of leisure and ritual. Meetings rarely happen in offices; they are arranged on tennis courts, in yacht clubs, or during a pause between regattas. A business deal may be punctuated by a discussion of tides or the quality of oysters harvested that morning. Time here doesn’t rush. Power, paradoxically, reveals itself in unhurried gestures.
By midday, the island quiets. Residents retreat to beaches, private clubs, or shaded terraces. To a newcomer, it might look like indulgent idleness. In reality, it is a choreography: a way of safeguarding privacy while sustaining community. Come evening, the same faces reappear downtown, dining under lantern light, weaving plans over lobster rolls and martinis. On Nantucket, belonging is measured less by wealth than by recognition—everyone knows each other, and even the billionaire who arrives by private jet remains, in essence, a guest.
Within this landscape, Nantucket Red is not merely a color; it is a subtle code of identity. A blend of maritime history, European echoes, and the island’s unique tempo, it speaks of lives calibrated to the slower passage of time.
Yet today, the island wrestles with overcrowding, soaring real estate prices, and environmental strain. Once a badge of discreet privilege, the shade risks becoming something else: a muted distress signal.
To the casual observer, life on Nantucket may resemble theater—too measured, too effortless. But in this deliberate slowness lies its secret. Here, a day is not counted in hours, but in rituals. And those rituals compose a rare, fragile harmony, one that seems increasingly precious in a world obsessed with speed.
Yet today, the island wrestles with overcrowding, soaring real estate prices, and environmental strain. Once a badge of discreet privilege, the shade risks becoming something else: a muted distress signal.
To the casual observer, life on Nantucket may resemble theater—too measured, too effortless. But in this deliberate slowness lies its secret. Here, a day is not counted in hours, but in rituals. And those rituals compose a rare, fragile harmony, one that seems increasingly precious in a world obsessed with speed.
Photos by Rene Cizio
Photos by Rene Cizio
Photos by Rene Cizio
Photos by Rene Cizio
Photo from middlejourney.com
T
itself, but nearby for budgetary reasons, the atmosphere was unmistakable: white-hulled yachts, silver-blue harbors, and, of course, the island’s emblematic hue—Nantucket Red.
For visitors, Nantucket is a postcard: weathered shingled houses framed by hydrangeas, a chilled glass of rosé on a veranda, the horizon trembling with sails. For residents, however, the rhythm of life unfolds differently. Mornings often begin with a walk—or a run—along the beach, less for exercise than for the reassurance that the
For visitors, Nantucket is a postcard: weathered shingled houses framed by hydrangeas, a chilled glass of rosé on a veranda, the horizon trembling with sails. For residents, however, the rhythm of life unfolds differently. Mornings often begin with a walk—or a run—along the beach, less for exercise than for the reassurance that the
These are no longer the days when a woman’s main purpose was to provide comfort. Of course, it wasn’t always that way in every home. But in many, it was. Today, being a wife doesn’t mean sacrificing your fire. Success doesn’t have to disrupt your marriage. And if that idea unsettles you—pause. Begin, immediately, to reclaim yourself.
From the outside, modern art rarely makes sense. It isn’t meant to. The more you explore it, the more you begin to see, understand, accept. Treat yourself the same way. You are a unique ART object. Stop expecting universal approval. Everyone has their own taste. The only agreement you need is with yourself.
This is where things become “plaincredible”—plain yet extraordinary. And only a woman will understand that invented word and smile, recognizing her own thoughts in it.
From the outside, modern art rarely makes sense. It isn’t meant to. The more you explore it, the more you begin to see, understand, accept. Treat yourself the same way. You are a unique ART object. Stop expecting universal approval. Everyone has their own taste. The only agreement you need is with yourself.
This is where things become “plaincredible”—plain yet extraordinary. And only a woman will understand that invented word and smile, recognizing her own thoughts in it.
The Art of Being a Woman in Business
OCTOBER 2025
“A successful woman is a thrilling phenomenon, and a thrilling phenomenon is a successful woman.”
Lana Mikhay
Lana Mikhay
“A successful businesswoman is a unique, thrilling ART masterpiece of our modern world.”
Lana Mikhay
And here's the point: not every object is created with a lofty goal. Not every artist dares to speak of big ideas. That’s why art is so varied. That’s why we have different forms, narratives, and approaches. Pay attention to details, to slips of the tongue, to nuance. Generations of women fought for this moment—for independence, for the right to succeed.
A successful woman in business is not only privileged today—she often dominates. She is no longer an exception; she is a force.
Success, like art, is a disruption. A rewriting of reality. A shift. In this new world, old standards dissolve. What once defined us no longer applies.
That is the truth of all great art: it doesn’t ask for understanding—it demands recognition.
A successful woman is a thrilling phenomenon. Let her be. And better yet: become her..
Lana Mikhay
And here's the point: not every object is created with a lofty goal. Not every artist dares to speak of big ideas. That’s why art is so varied. That’s why we have different forms, narratives, and approaches. Pay attention to details, to slips of the tongue, to nuance. Generations of women fought for this moment—for independence, for the right to succeed.
A successful woman in business is not only privileged today—she often dominates. She is no longer an exception; she is a force.
Success, like art, is a disruption. A rewriting of reality. A shift. In this new world, old standards dissolve. What once defined us no longer applies.
That is the truth of all great art: it doesn’t ask for understanding—it demands recognition.
A successful woman is a thrilling phenomenon. Let her be. And better yet: become her..
n this piece, I set out to explore two deeply stirring subjects: women and their success in business, treating them as expressions of modern art. I play with metaphors and rhythm not to instruct, but to
Our culture has given us so many tools, so many open doors. The only sin now is not walking through them. Apply your knowledge. Use it. Move toward your own definition of success. My beautiful, thrilling women—I call on you to wake up. Your time is now.
Success is the overcoming of naivety about yourself. Stir yourself—not from worry, but from the energy of waves. Let it be the wave of your own rise.
Are you the canvas, or the artist? You choose. Either way, you were created to be a thrilling ART object in this universe.
Think about it: we react more strongly to people we know. When you connect with an idea, it starts showing up everywhere. Don’t rush. Art always requires time—for perception, for immersion. Give yourself that time. But don’t take forever.
Success is the overcoming of naivety about yourself. Stir yourself—not from worry, but from the energy of waves. Let it be the wave of your own rise.
Are you the canvas, or the artist? You choose. Either way, you were created to be a thrilling ART object in this universe.
Think about it: we react more strongly to people we know. When you connect with an idea, it starts showing up everywhere. Don’t rush. Art always requires time—for perception, for immersion. Give yourself that time. But don’t take forever.
A successful woman is like contemporary art: thrilling, yes, but also full of energy, pulses, and waves. Her presence resonates, or it doesn't. I've seen many talented women, upon entering a relationship, begin to dissolve. They disappear into domestic routine, into a
Cycle: "Woman in Business"
By Lana Mikhay
I
inspire—or, at the very least, to make you smile. If I manage to do either, that in itself is a shared success. Every word here is for you—a kind of support letter, handwritten in metaphor. Let us begin a beautiful, thrilling journey toward success, because this very path, I believe, is a form of contemporary art.
Today we are flooded with articles, books, courses, and workshops aimed at women. The abundance is dazzling—and disorienting. It's easy to lose our way in this torrent of information, which often breeds confusion rather than clarity. The most difficult part of being a woman in business today is navigating this oversaturation.
Today we are flooded with articles, books, courses, and workshops aimed at women. The abundance is dazzling—and disorienting. It's easy to lose our way in this torrent of information, which often breeds confusion rather than clarity. The most difficult part of being a woman in business today is navigating this oversaturation.
suffocating everydayness that steals their drive and dims their light. The ones who climb back up, who remember who they truly are—those women embody the essence of modern success. That rediscovery of self, that reclaiming of voice, is a work of art in itself.
Stop worrying about whether people like you. Or better yet, stop worrying whether your partner approves of your ambition, your business, your growth. Yes, it’s hard. But it’s also a revolutionary act—an act of self-return. As Gary Loveman, CEO of Caesar’s, once said, “If you want someone to love you unconditionally, get a dog.”
I got two dogs. It helps. Though honestly, I sometimes suspect they don’t like me either. But that’s my problem. And thankfully, humor gets me back on track.
Stop worrying about whether people like you. Or better yet, stop worrying whether your partner approves of your ambition, your business, your growth. Yes, it’s hard. But it’s also a revolutionary act—an act of self-return. As Gary Loveman, CEO of Caesar’s, once said, “If you want someone to love you unconditionally, get a dog.”
I got two dogs. It helps. Though honestly, I sometimes suspect they don’t like me either. But that’s my problem. And thankfully, humor gets me back on track.
In the next issue you will find out:
What names did William Shakespeare invent and why are they still popular today?
How New Year is celebrated in different countries around the world
Unusual and beautiful breakfasts to get you into the Christmas spirit
What is in the private collections of the authors and experts of our magazine?
A selection of the best films, TV series and music for Christmas for you
The secret beauty ritual from our NUJEVI partners
Become a part of the
CARPE DIEM MAGAZINE
write to us:
CARPE DIEM MAGAZINE
write to us:
