For years, Georgia has been the subject of breathless think pieces trumpeting its status as a burgeoning fashion capital.
collection, which plumbed the depths of his childhood trauma caused by living in the midst of the Georgian civil war to create a dark pulsating collection full of combat fatigues, fringed babushka scarves and tourist t-shirts spelling out ‘clothing’ in Georgian script, Vetements clever version of a logo t-shirt.While it’s clear that Georgia’s popularity as an object of fascination for Westerners isn’t flagging , part of Georgia’s appeal comes from a fundamental misunderstanding of the country.
Tbilisi is a vibrant city in varying stages of decay and renewal. On the edges of the city there are apartment building painted ice cream cone pastel. Paint and plaster peels off the facades of stunning 18century buildings, and intricate wrought iron balconies are rusted through. The smell of cat urine mingles with baking bread.
It will be fascinating to see if Georgia’s cultural currency in the fashion world will be longstanding or last only as long as Demna Gvasalia’s notoriety. It has been considered “emerging” for years now, a polite way of saying there is heightened interest but it hasn’t quite arrived. It’s rather awkwardly teetering on the precipice between emerging and established, ready to topple in one of the two directions. Either way, you can only stay nascent for so long.
Fashion may be the hottest cultural export that Georgia has going at this time but in the country itself, its more of a subculture than a national pastime, albeit one with outsize influence. But like the Japanese avant-garde designers of the 1980s or the Antwerp Six , sometimes a small group of rebels is all you need to make an impression.
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