George Keburia

G – First of all, what do you see in this ink blot?

GK – No clue, could it be a wild orchid?

G – What was your childhood like? Was there any sign that you would one day become a fashion designer?

GK – From what I remember, it was quite a sad childhood. Growing up in post-soviet Georgia, we didn’t have electricity, heating and sometimes neither water. Between the usual bullying about my hair color or tone of voice, and the Soviet mentality of my teachers,  I hated going to kindergarten and school. I preferred to go through the 1980s issues of Vogue and OTTO that I found at home, so I sat quietly and drew clothes on the back of my notebook – and I would get mad if someone saw my drawings at school or at home.

G – I imagine the concept of fashion in post-Soviet Georgia must have been very practical and utilitarian.

What were the differences between the sense of fashion and style you saw in your daily life and in Georgian media, and the fashion and style you saw in your magazines and foreign media?

GK – Indeed, the fashion and style I saw in the streets of post-Soviet Georgia was mostly practical and utilitarian. The 90s were quite gloomy and dark (literally, because we had no electricity). I remember ladies dressed in vibrant sets with exaggerated silhouettes, oversized jewelry and voluminous hair. Nothing too fancy or sexy though. Life that I saw in foreign magazines seemed much more colorful and joyful.

G –  Did you face any prejudice for the path you were pursuing?

GK – One of the biggest prejudices back then probably was the idea that fashion design could not get you anywhere, and it would always remain a hobby.

Initially, my parents didn’t want me to pursue my dream of becoming a fashion designer, but I persisted. The first time I shared my vision with the world was a local newcomers contest, which I won. Shortly afterwards, I won another contest, Be Next. Although fashion was basically non-existent as an industry back then in Georgia, and most of the designers couldn’t make the ends meet, my parents never expressed a concern for my career choice again. This gave me motivation and confidence that I was pursuing the right path.

G – Do you think that the environment you grew up in influenced your vision, tastes and style? If so, how?

GK – That environment influenced the aesthetic of my work, moreso in the past. I usually respond to the current situation in my country: in 2016, for instance, I created a capsule collection of garments embroidered with the word ‘gay’ and images of guns, to protest against homophobia, which was very prevalent in Georgian society.

There are times when I don’t want such circumstances to influence my creations, as I think that so much melancholy wouldn’t be a right fit for a KEBURIA girl. I prefer to travel in other spaces.

G – Did you immediately resonate with the profession of fashion designer? What –or who– led you specifically towards designing women’s fashion (or, at least, typically feminine fashion)?

GK – For many years, I would always dream about working in fashion. Back in the 2000s, when my perceptions and preferences were being formed, I was completely blown away by insane visuals of celebrities and fashion. I came across Jean Paul Gautier and Martin Margiela, then McQueen and Nicolas Ghesquière, and I wanted to take their path (well, I still want to). I would also dream of becoming a professional tennis player, but becoming a fashion designer was always a much stronger urge. Actually, an icon that greatly inspired me was Serena Williams, whose revolutionary fashion choices often raised outrage on the court. 

G – When you look back at your brand when it was first conceived, what differences can you see compared to how it is now?

GK – The less knowledge I had, the more risky I was: I was younger and more emotional, and I really miss that sensation. For my first collection, I participated in a local contest. I personally made non-wearable 5-piece suits, mainly using construction materials. Today, we work with several showrooms, and as a commercial brand we have to take into consideration some of the requests. This can dissociate you from fashion as an art form, though I still try to create something interesting even in those instances.