Meet the Fashion Mastermind Turning Turmoil into Transcendence

Sometimes all it takes is a single item to start a fire and for designer GEORGE KEBURIA, it rings true when they say that big things come in small packages. All of those micro sunglasses you see on Instagram, magazine covers, and on It girls in the fashionsphere, there’s one mastermind responsible for the retro revolution washing over the sartorial scene like a strong current.

Coming from post-Soviet Georgia, George grew up in an environment where fashion wasn’t entirely prolific. Within a deeply conservative society still reeling from tumult and political conflict with its neighboring regions in the Caucasus, artistic undertakings weren’t of utmost priority or even something taken seriously. Since childhood, the Tbilisi-born designer has always been fascinated with fashion—he sketched as a hobby and flipped through his mother’s fashion magazines in utter amazement but in defiance of his passion, he initially decided to take another route. “Honestly, I did not think that Georgia would be considered so interesting for the international fashion scene. Despite my interests, I started studying business management but later quit university and decided to pursue my career as a designer,” shares George who is entirely self-taught.

It was no less than an excellent leap as he found himself a part of the influx of Georgian sartorial masterminds in the spotlight alongside the likes of Demna Gvasalia and Gosha Rubchinskiy despite the absence of a formal background. While the Georgian fashion scene wasn’t always on everyone’s radar, Demna’s purveyance from his definition of new-age post-Soviet chic played a large part in jumpstarting it all and Tbilisi is now recognized as a top fashion destination along with the wave of up-and-coming vestiary mavens shaking up the industry. George is unmistakably a standout; not just because of his post-modern, hyper-feminine style in a streetwear-abundant domain but also his intrepidity for experimentation and expression—a trait the great West has recognized and put him on the map with his futurist influences and grand ‘80s & ‘90s-resonating aesthetic; having style icons such as Solange, Rihanna, and Bella Hadid wear his creations.

“Georgian designers strive to introduce something new and different to the fashion industry. There are many who can be a breath of fresh air [to the industry] with their unique, boundary-pushing visions.”

Although he made the jump to move to Europe in his 20s, Georgia’s culture and heritage hasn’t gone amiss with his design sensibilities—in all its turbulence and gloom with a splash of vibrancy succeeding the chaos. Playing a part in the ‘New East’ current of Eastern European designers, George detaches himself from defining the Georgian panache, including his own. “I don’t think that [Georgia] has a significant difference from other major fashion cities. It’s just that there is a lot of talent in such a small country as Georgia,” the designer explains and generally credits its unprecedented approach to design and fashion. “Georgian designers strive to introduce something new and different to the fashion industry. There are many who can be a breath of fresh air [to the industry] with their unique, boundary-pushing visions.”

“I think that because I did not have a formal education, I was riskier; I was not afraid to make mistakes and consequently, I was more interesting to people. I consider that this experience helped me to come to where I am today.”

Even though his most recognized piece screams retro revival, this wasn’t a conscious effort for George at all. “I rarely thought about the ‘90s style while creating cat-eye sunglasses. While working on them, I wanted to mix the iconic cat-eye style and a futuristic aesthetic. I wanted shades that are classic, edgy and modern at the same time.” For the current season, he sticks to his penchant for designing on a whim, taking inspiration from his surroundings and citing a love for spontaneity that makes his creations truly his. We spoke to George about his new collection, social consciousness in fashion, and taking inspiration from the post-Soviet grounds of Tbilisi.

What was it like coming into the scene as a self-taught designer? Would you say you had more edge due to not being confined to one method or did you feel like it also had its disadvantages?

The disadvantage was that I did not know the technical side, neither drawing nor constructing. But at the same time, I had a bigger motivation. I knew I could learn all those skills on my own. I also think that because I did not have a formal education, I was riskier; I was not afraid to make mistakes and consequently, I was more interesting to people. I consider that this experience helped me to come to where I am today.

What was it about the culture and environment in Tbilisi that inspires your work? Were there elements that you picked up growing up that you would say shaped you as an artist?

Of course, growing up in post-soviet Georgia, I was influenced by the existing environment, which was pretty turbulent and gloomy. Reflecting Georgian heritage is sometimes inevitable and important for me. This was also depicted in my works from previous years. My Autumn/Winter 2016 collection echoed civil war and the Soviet era—weapon print was used as a symbol of difficulties and rough times that our country went through but on the other hand, rainbow colors were used in aim to give an overall vibe of optimism and to undermine aforementioned darkness.

You have quite a fascinating take to tailoring, especially with your play on interesting shapes and silhouettes. How did this aesthetic form?

I am fond of experiments and challenges, so I try to find new ways of mixing colors and textures and shapes. My designs can be characterized by feminine silhouettes with exaggerated shapes and synthesis of heavy and light fabrics, aiming to achieve a perfect balance between masculinity, femininity, vibrancy, and strictness.

What was it like seeing big, notable names like Solange and Rihanna wearing your creations?

Some of the most pivotal moments for the brand were when iconic women have donned my sunglasses. Their constant support is amazing and incredibly rewarding for me.

Talk us through the story of your latest collection. How has this evolved from your past ranges? Is there a new approach or any special elements you incorporated this season?

My recent collection is more minimalistic and modern than my past ones. Clean and uncluttered lines are central story of the Fall/Winter ‘18/19 collection. At this time, my challenge was to use many bright and pastel colors but at the same time, I didn’t want to make the clothes too cheerful. I tried to keep classic, minimalistic tones alongside with sculptured tailoring and masculine silhouettes. In my latest collection, I wanted to transform vintage naval outfits and present them with a chic, more practical twist.

You’re no stranger to dipping into protest fashion. What does making a statement through clothes mean to you? Would you say fashion and social consciousness go hand in hand in the present?

Reflecting social issues in art is sometimes inevitable, since our daily lives are so influenced by those things. Fashion, as every other field of art, gives people a voice and an opportunity to express what they care about and what is important to them [but] it’s up to the artist whether to make a statement about social/political issues or not. It’s possible to explore weighted issues through the fashion industry—it reflects reality and everything that happens in society, from culture to politics.

With matters like genderless dressing and protest fashion widely coming into the spotlight more in the year, as a designer, where do you think fashion is headed? In what direction do you think it will steer to this time around?

I consider that fashion has always been interesting, would that be social or political statements within the scene or merely trends. Most iconic designers are always ahead of their times and I can’t say where exactly fashion is headed, but it’s definitely going to be exciting.