Founder and creative director Galib Gassanoff presents his latest collection, EL, blending tradition and modernity with a focus on cultural heritage during Milan Fashion Week.
Galib Gassanoff, the founder and creative director of Institution, showcased his latest collection during Milan Fashion Week, held in September 2024. Institution, which Gassanoff launched as a personal project after co-designing Act N°1 with Luca Lin, aims to transcend conventional fashion by integrating social and artistic dimensions. Hailing from a diverse background as a Georgian of Azerbaijani descent, Gassanoff’s work is deeply informed by the contrasting cultures and traditions he experienced growing up in the outskirts of Tbilisi.
The collection unveiled during the fashion week, named EL, marks the third release since Institution’s inception. The term “EL” derives from Turkic languages, signifying a collective united by a shared heritage—reflecting Gassanoff’s intention to explore and celebrate his identity through fashion. He articulated his vision, stating that the creation of Institution serves as “more than a simple brand,” embodying a desire for a platform that can engage with broader social and artistic narratives.
The backdrop for the debut collection was the historic Bagatti Valsecchi Museum in Milan, a fitting location for the show that highlighted the craftsmanship involved in each piece. Gassanoff personally assembled many of the designs, showcasing his commitment to detail and innovation. His work prominently featured traditional materials such as wool, fur, carpets, and knits, each representing a significant aspect of his memories and heritage.
A notable aspect of the collection was the hand-weaving technique utilized in various garments, reminiscent of the carpet-making practices prevalent in Gassanoff’s Azerbaijani community. This method was ingeniously adapted to cotton shoelaces, resulting in a sculptural quality in the garments. Other designs included tops crafted from reclaimed buttons, inspired by historical practices of the Russian empire, where servants carried coins with holes in the center.
The collection also paid tribute to cultural elements in Gassanoff’s upbringing. Tartan-blanket-wrapped looks were a nod to the traditional attire of older women in his community. Additionally, he reimagined heavy, wool-padded blankets typically used against the chill of Georgian winters into lighter, more sophisticated pieces presented in elegant cream tones.
Gassanoff further honored his ancestry with capes reflective of those worn by his shepherd forebears who practiced transhumance in the Caucasus. These were reinterpreted in both sheer chiffon-like fabrics and thicker wool options, showcasing structured silhouettes that varied in texture and form.
Among the standout pieces were tops and skirts made of floral jacquard fil coupé, constructed upside down to achieve a dramatic, fur-like appearance. This theatrical quality also characterized an ankle-length sleeveless dress, highlighting Gassanoff’s innovative approach to textile manipulation.
Through this collection, Gassanoff not only expresses his personal aesthetic but also weaves together the threads of his heritage, creating a dialogue between tradition and modernity within the realm of fashion.
Source: Noah Wire Services
