Recently, the National Museum of the Republic of Kazakhstan hosted the grand opening ceremony of the second hall of ethnography — a space where each exhibit tells about the life, crafts and centuries-old traditions of the Kazakh people. This event was a reminder that culture is not only part of the past, but also a living breath of the present. Especially today, when national clothes cease to be just an element of heritage and become a way of self-expression, a tool for cultural dialogue and a form of declaring oneself against the facelessness of mass fashion. More and more young people are turning to ethno-origins, discovering the depth of traditions and turning them into part of modern style.

In the new cultural realities, national style becomes a way of self-expression, a form of identity and a tool for dialogue between generations. More and more young people are turning to ethno-origins, discovering in them a source of inspiration, strength and originality. Ethnostyle today is experiencing a genuine renaissance, connecting tradition and modernity, the spirit of ancestors and the energy of the new generation.

The ethno-designer community also notes that the younger generation has organically begun to incorporate ethno-accessories into the modern wardrobe, beautifully combine elements of national clothing with images, and buy bright ethno-shoppers, chapans and headdresses at exhibitions.

And representatives of the alpha generation admit that for them the national vibe has become a way to talk about their preferences and that they are free in their thoughts.

It is worth saying that the interest in national clothing is not a random surge of fashion, but part of a deeper process. Kazakh society is gradually returning to its roots, comprehending cultural heritage through a modern perspective. Young people who grew up in the era of globalization are tired of the uniformity of mass-market and are looking for individuality in national aesthetics.

- Ethnostyle has never completely disappeared, — says Zhanna Malikova, author of the ethno-brand "Dala". — It's just that the moment has come when society has begun to look for depth and meaning in what surrounds and fills us.

According to Zhanna Malikova, the peak of globalization was a turning point. People began to gravitate towards authenticity, towards things with a history, towards symbols that carry memory and philosophy. Ethno-motifs, in fact, became a mirror of this inner cultural awakening.

Modern ethno-designers have learned to subtly integrate elements of national clothing into the everyday wardrobe. Ornaments and textures, once characteristic of camisoles or chapans, today adorn coats, hoodies, bags and accessories.

- It is important that it looks organic — not like a costume, but like a part of life. Ethno-details are woven into modern forms without losing their essence, — explains Zhanna.

This is how a new aesthetic is born — when silk and wool meet denim, ancient patterns meet neon accents, and ancient symbols meet street freedom. This is not a clash of eras, but a harmonious dialogue between the past and the present. That is why ethnostyle is so close to the younger generation today — it speaks to them in the same language.

At ethno-exhibitions and festivals, you can increasingly see teenagers and representatives of the alpha generation who proudly wear things with national motifs. For them, this is not just a tribute to fashion, but a way to talk about themselves, to declare their values and worldview.

"Now there is a renaissance of ethnostyle," says our interlocutor. Everyone, including young people, strives to emphasize their roots and ethnicity. For many years this did not manifest itself, but today we see a revival not only of national clothing, but also of language, culture, and self-awareness."

According to Malikova, young people do not strive to please someone — they strive to be themselves. Their choice in favor of ethno-aesthetics is dictated by an inner desire for self-expression and cultural freedom.

- I am sincerely glad that the interest in ethno-culture comes specifically from young people. This generation shapes new meanings, drives social processes and sets the tone of the times. They do not want to dissolve into faceless global fashion, but are looking for support in their roots. Therefore, ethnostyle for them is not just a trend, but a conscious choice, a way to declare their culture in a modern language, — notes Zhanna Malikova.

However, the revival of ethnostyle brings not only inspiration, but also responsibility. In order for the fashion for ethno not to turn into a superficial trend, it is important to maintain respect for the history and sacred meaning of traditions.

- When designers transfer ornaments or elements of a costume to a modern image, you need to understand what they mean. This is not just a drawing — it is the history of the clan, the philosophy of life, a reflection of the worldview. To lose this means turning the heritage into a decoration without content, — emphasizes the ethno-stylist.

Zhanna is sure that the true revival of ethno-culture is not copying, but a meaningful continuation, where each decision is born from understanding and respect for the past. At the same time, she notes that at the heart of genuine interest in ethnostyle lies not fashion, but love — for culture, for history, for one's own identity.

- I would very much like the interest in ethnostyle to come not only from fashion, but from awareness. After all, behind each ornament there is a history, a philosophy, a sacred meaning. Every stitch, every color matters. When a person understands this, clothes cease to be just beautiful — they become a symbol of respect and love for their roots, — says Zhanna Malikova.

In conclusion, I would like to add that ethnostyle today is not a return to the past, but a movement forward. This is the path of awareness, when fashion becomes part of cultural memory, and clothing becomes a way to talk about one's belonging to the world.

Young people choose ethno not for the sake of external effect, but for the sake of inner harmony. And, perhaps, this is the main difference of the new generation: they do not just wear culture, they live in it.