KIR Art & Fashion Presents: HOLIDAY MASQUERADE
- OvonoAgency
- Dec 20, 2025
- 4 min read
Reimagining The Runway as Contemporary Exhibition Architecture
When Art Learns to Move
In contemporary culture, lasting shifts rarely announce themselves as movements. They emerge quietly through changes in format, visibility, and encounter. KIR Art & Fashion Masquerade, presented by KIR Art and Fashion, enters precisely in this space, not as a single event, but as an early articulation of a new exhibition model where art abandons stillness and reclaims motion.
Taking place on December 20, 2025, in the heart of New York City at Residence Inn Times Square, 1033 Avenue of the Americas, KIR Masquerade unfolds as a full-day experience. Rather than isolating art, fashion, and performance into separate moments, the event is structured as a continuous system of visibility, activation, and public encounter.
The day begins at 11:00 am with an art exhibition, allowing audiences to encounter the works in a traditional spatial format. As doors reopen at 6:00 pm, the environment shifts. The fashion show becomes the exhibition itself, followed by an afterparty where artists, designers, models, and audience circulate together in shared space. A special appearance by Sasha Prendes further situates the evening within a broader contemporary cultural dialogue.
At its core, KIR Masquerade rethinks exhibition-making by shifting art from static display into lived space. Artworks are carried by models and worn as garments, moving through the runway as both object and extension of the body. The models operate as living, breathing sculptures, a work of art and a display at the same time, activating the works through motion and proximity. In this display painting, fashion, and performance converge into a single, contemporary exhibition form.
This approach treats glamour as a serious curatorial instrument. In a culture driven by imagery and circulation, visibility becomes infrastructure rather than decoration. KIR Masquerade understands attention itself as a medium, one that extends memory, amplifies authorship, and allows works to live beyond a single moment.
Historically, art advances when its modes of presentation change. Performance entered museums when duration and presence were recognized as material. Fashion entered institutional discourse when the runway was understood as an authored space. KIR Masquerade operates at this intersection, where exhibition, performance, and spectacle converge into a single, contemporary exhibition model.
A Collective in Motion
The participating artists reflect a curatorial commitment to works that retain authority under conditions of movement and public encounter. These are works that gain complexity through repetition, wear, and visibility rather than diminishing outside traditional display.
Participating artists include:
Lil ARSON"©" (@arsenx_27)
Varteny Daghinian (@artofvart)
Ashley Joan Art (@ashleyjoan_art)
Dani (@danibrewss)
Eddy Bogaert (@eddybogaert007)
Mayelin Lopez (@haba.pm)
Hakob Hakobyan (@hakobhakobyan_art)
Ian (yin yang) (@ian_mari_real_)
Justine (@_justheartist)
Lara (@lara.arbore)
Mariia Jones (@mariia_jones_design)
Nomad (@nomadnyc92)
Sergey Kir (@sergey_kir_art)
Sophia L. Scinto (@sophiascinto)
Encountered across multiple formats throughout the day and night, the works accumulate layered provenance. Their meaning extends beyond ownership into appearance history, performance context, and cultural memory. Exhibition becomes an evolving narrative rather than a fixed display.
What emerges is a model of shared visibility, where artists are not isolated but positioned within a moving system that privileges presence, exchange, and public encounter.
Fashion as Framework
Within KIR Masquerade, fashion functions as architecture rather than competition. LOOKS BY LUNDEN, MLC Swimwear, KIR, J Metier, and Lika Rossi provide the visual structures through which artworks are mobilised.
Garments act as support systems, enabling art to circulate simultaneously as image, object, and event, and the model becomes a display, an artwork, and a frame.
Fashion does not illustrate art, nor does art decorate fashion. Together, they form a unified exhibition mechanism that reframes the runway as exhibition architecture in its own right.
Featured designers:
MLC Swimwear (@mlcswimwear)
KIR MODA (@kir.moda)
Looks by Lunden® (@looksbylunden)
LIKA ROSSI (@miss.lika.rossi)
J.MÉTIER (@j.metier_fashion)
SLS By Sophia L. Scinto (@slsthebrand)
MyMokondo (@mymokondo_com) Collaborator:
StartShows (@startshows)
The Vision That Set the System in Motion
KIR Masquerade originates from the vision of Sergey Kir, who conceived and pioneered this format as a response to long-standing questions about where art belongs and how it should exist today.
Kir’s practice operates at the intersection of structure and emotion, drawing from systems, architecture, finance, and visual language. Through an approach often described as Conceptivism, his work merges abstraction, geometry, symbolism, and fashion into a single language. Paintings transform into garments, artworks become mobile installations, and exhibitions unfold as temporal experiences. The body is treated not as a passive support, but as an active site of meaning.
Crucially, KIR Masquerade is not positioned as a personal showcase. It is a platform Kir initiated to open visibility to others. His role is not to dominate the stage, but to build the system, and invite collective expansion within it.
Why This Moment Matters
For collectors, KIR Masquerade represents early participation in a shifting exhibition economy. Works associated with emerging formats accrue value not only through material qualities but through their role in cultural transition.
For sponsors and cultural partners, the project offers contextual authorship rather than surface exposure. Art in motion, fashion framing, and live performance generate enduring cultural content without overt promotion.
The Vision That Set the System in Motion
This combined art exhibition and movement is essentially asking two big, contemporary questions:
1. Who gets visibility, power, and value in today’s cultural economy, and who decides that?
By taking art off the wall and placing it on the runway, the movement questions traditional gatekeepers of the art world. It challenges whether value should be assigned only after institutional approval, or at the moment of creation, in front of a living audience. Artists are positioned as central cultural producers, disrupting hierarchies between artist, fashion, model, brand, and institution.
2. Can art exist as a living, social, and economic force rather than a static object?
KIR Masquerade asks whether contemporary art must remain passive and silent or whether it can move, perform, sell, and interact in real time. By merging runway, performance, and exhibition, it challenges the separation between art, commerce, entertainment, and identity, proposing a future where art actively participates in social life without losing meaning.
In short:
Who is the star of culture today, the institution or the creator?
And should art be observed after the fact, or experienced at the moment it’s born?
Models, designers, artists, and sponsors who are interested in joining the Art on Runway movement - reach out to Sergey Kir via Call, Email or DM
