In the wider social and cultural world, fashion is not only popular trends—questioning whether capri pants are really ''in'?—but it is a powerful communicator of one’s most intimate self. According to designer Beso Turazashvili, his fashion, arts, and music collective Berhasm encompasses just that. Based in Tbilisi, Georgia, Berhasm is a product of the current political turmoil in the country and an example of resilience in the face of adversity.
“Berhasm is not just a brand,” Turazashvili tells us in the interview below. It is living and breathing, an extension of the bodies and souls of individuals who have survived hardships, feel passionate about driving change, and engage deeply with collaboration. I get the sense that pure, unadulterated passion is the driving force behind Turazashvili’s Berhasm—whether it’s him and his friends wearing Berhasm designs in clubs or tasting the menu for his restaurant, Chicos. The most important lesson is to never do anything that doesn’t feel like you. One might think that working in fashion and owning a restaurant are polar opposite passions, but it is Beso Turazashvili at his core. Berhasm is about embracing and accepting different authentic facets of what makes an individual.
You began working in fashion relatively young—at age 20. Did you have any formal training before working with these global brands, such as Stella McCartney?
I began my career in fashion while studying at NYU in New York. It was a transformative period where I absorbed the city's dynamic energy and immersed myself in the fashion scene. This hands-on experience, coupled with the city's influence, shaped my path and opened doors to collaborate with brands like Stella McCartney. I didn’t have formal training specifically in fashion, but I graduated with an Honours degree in Film and I’ve always loved the storytelling. Fashion is not just about clothes; it’s a reflection of who we are, our inner world, and the story we want to tell.
On your website, you name Berhasm ‘a fashion, arts, and music collective’ instead of a brand. Why is that? How does that differ from the label ‘brand’?
Berhasm is not just a brand; it’s a living, breathing collective that merges fashion, art, and music. By calling it a collective, we embrace a broader spectrum of creativity and collaboration. It’s about breaking down barriers and creating an ecosystem where different forms of art coexist and inspire one another. This allows us to engage deeply with our audience and create a more holistic impact. For me, it's about creating a culture, not just a product.
You began Berhasm as a side project, creating pieces for your close friends. What inspired you to do this? Why did the club strike you as the place for Berhasm to have its first introduction to the world?
Berhasm started as a side project, making T-shirts and hoodies for my friends to wear at clubs. The club scene is where raw expression and unfiltered creativity thrive, making it the perfect launchpad for Berhasm. I remember one night at a club in Berlin, watching the dance floor and realising that this was where Berhasm truly belonged. That energy was palpable, and it was the perfect introduction for us. Clubs are the underground catwalks, where real fashion happens. Of course, we transform, and apart from my gut feeling, now we have a team of analysts and product matrix, and all of that yara yara that any brand has to go through, but I try to stay real to the original culture that inspired me.
Who has Berhasm collaborated with, and who has been your favourite collaboration?
We’ve worked with several international artists, photographers, influencers, NGOs, and parties. One standout collaboration was with the Women’s Violence Prevention Fund. This partnership was particularly meaningful as it allowed us to address and raise awareness on critical social issues. Each collaboration brings something unique to the table, but the ones that resonate deeply with our values and social causes hold a special place in my heart. Collaboration is essential in fashion; it’s where different worlds collide to create something extraordinary.
What inspires your choice in collaborations?
Our collaborations are inspired by a desire to spotlight social, cultural, and political issues. We seek partners who are passionate about making a difference and share our vision of using creativity for social good. We support minorities and always try to give them the voice. It's about finding synergy between our mission and the collaborator's vision, ensuring that together we can create something impactful and meaningful. It’s not just about aesthetics; it’s about making a statement, but of course, we have to make it sexy; clothes need to be sold and bought. We buy only what we are turned on by.
How would you describe an ‘Eastern European rough aesthetic’? And why do you think it’s important to showcase Eastern European culture and society through Berhasm?
The ‘Eastern European rough aesthetic’ is about embracing rawness and authenticity. It’s a blend of streetwear and 90s nostalgia, reflecting the gritty yet vibrant spirit of our culture. Growing up in Georgia, I was surrounded by this raw, unfiltered beauty—from the bustling markets to the old Soviet buildings. It’s important to showcase this to highlight the unique narratives of Eastern European society. Our aesthetic is a rebellion against perfection; it’s the beauty in imperfection that tells our story.
This leads me to your most recent collection, Chaos and New Order. What experiences, both personal and collective, did you want to bring to the forefront in this collection?
Chaos and New Order is deeply rooted in the political climate of Georgia. It’s a reflection of the struggle and resilience of our people, especially against the backdrop of the controversial “Russian Law.” This collection embodies both the chaos we live through and the hope for a new order. The personal and collective experiences during this tumultuous period were the driving forces behind the designs. I use fashion as a reflection of the times and as a mirror to society’s soul.
I have read up on the situation in Georgia, but as a Georgian, you have a well-rounded perspective. Could you provide me with some context on what is going on and what it means for the citizens?
Georgia is in a state of political turmoil, with citizens actively protesting against laws that threaten our European integration. This movement for freedom and autonomy is a significant influence on Berhasm’s work, reflecting the passion and defiance of the Georgian people. I’ve seen firsthand the resilience and determination of my fellow Georgians, and it’s a narrative I want to keep alive through our designs.
In your Instagram post, you spoke about the collection and your choice to present the collection at Tbilisi’s Apollo Cinema Theatre. Could you tell me a story about the theatre? What does it represent for Georgia’s youth? How does this venue symbolise the transition between Georgia's past and its future?
Apollo Cinema Theatre, Tbilisi’s first cinema building, hasn’t functioned for decades, and there’s nothing happening there. It symbolises a bridge between our rich history and the hope for the future. For Georgia’s youth, it represents a space of transition, hope, and the potential for new beginnings, perfectly encapsulating the essence of Chaos and New Order. It’s a venue that holds stories of the past while inspiring dreams of the future, making it the ideal setting for our collection. It was extremely hard to get them to let us do the show there, but we managed since Apollo was a great symbol of the collection.
In what ways does the rich history of your city and country reflect in your designs?
Our designs and campaigns are influenced by Georgia’s history and cultural narratives. Each season we try to implement the Georgianess in our garments while still keeping them universal and to our style. We also use the Georgian symbol of freedom and the eternal sun, Borjgali, as a part of our brand identity and the design element in our garment accessories. I wanted to modify this symbol and make it look like a cool, modern accessory. Many people don’t even know what it means, but it has that energy that helps the garments become statement pieces. Symbols carry the weight of history, and by modernising them, we give them new life and relevance.
Could you tell us more about the styling choices for this show and how they relate to the current state of affairs? What message are the styling choices trying to convey?
The styling for Chaos and New Order was inspired by the current protests. We used teary, red eyes in our makeup to symbolise vulnerability and hope amidst adversity. These choices reflect the resilience and defiance of the Georgian spirit. The styling was meant to convey a message of strength and perseverance, embodying the essence of our people’s fight for freedom.
How did it feel to demonstrate these emotions and experiences in this collection? Was it cathartic?
Presenting Chaos and New Order was a cathartic experience. It allowed me to channel the collective emotions and struggles of our community into a powerful fashion statement. It was a way to communicate our story and stand in solidarity with our people. Creating this collection was like baring my soul; it’s raw, it’s real, and it’s deeply personal.
Can you describe your creative process from conceptualisation to execution for this collection?
Our creative process begins with reflecting on personal and collective experiences. Usually I come up with a story that I’d like to share and create a presentation for the team. It’s important that the design team is aligned with the message and is in love with it since we have to create compelling storytelling and a collection with at least eighty garments in it based on these inspirations. Then we do the endless fittings and work with six of our factories on producing the samples. The show part is the most exciting one—showing everything we have been working on during the six months in just eight minutes. Casting is something we always pay extra attention to; it’s very important to me to have the diversity of the models so that our audience can associate themselves with the models. Indeed, our audience is growing in terms of age and where they are from, and I’m very glad that we can produce our sexy garments up to size XXL, which is very rare with the young designers.
You own a restaurant, Chicos, in Tbilisi. Why did you decide to start this new endeavour?
Chicos was born out of my love for gastronomy and a desire to explore another form of creative expression. It’s a space where I can share my passion for food and connect with people in a different yet meaningful way. I’ve always wanted to have an offline space. It’s kind of a family business: my partner designed the interiors, and my mom is the Head Chef. It’s a different project from Berhasm, but it shares the same ethos of creativity and authenticity. Food, like fashion, is an art form. It’s about creating experiences.
Have you always been drawn to gastronomy?
Absolutely. Gastronomy has always fascinated me. It’s another canvas for creativity, where you can tell stories through flavours and experiences, much like in fashion. Food is a universal language just like fashion, and I’ve always been intrigued by its power to bring people together.
When considering Berhasm and Chicos’ visual aesthetic and language, do you think both are very similar? How do both Berhasm and Chico illustrate yourself—your passions, personality, and life story?
Owning a restaurant is indeed different from running a fashion brand. While both require creativity and a unique vision, a restaurant demands a more immediate and tangible connection with people. It’s about creating experiences that engage all the senses. The instant feedback and interaction with guests at Chicos are exhilarating and provide a different kind of satisfaction compared to the fashion world. In fashion, the impact is visual and emotional; in gastronomy, it’s multisensory. Both are about creating memorable experiences.
Do Berhasm and Chicos share a similar aesthetic?
Visually, these projects are very different, even if both Berhasm and Chicos reflect my personal passions and life story. They share a common aesthetic of authenticity and a commitment to quality and creativity, and both of them attract the “it” girls who are essential to today's existence.
Social and environmental causes are integral to Berhasm, down to the very materials of your garments. Why is it important to you to make these issues a priority?
Social and environmental causes are at the heart of Berhasm because we believe in fashion’s power to drive positive change. We are committed to ethical practices and sustainable materials to minimise our environmental impact. I must say, it’s very difficult: sometimes it’s impossible to trace where fabrics come from, and logistics across the globe are not helping. But at least we try to work with the certified factories.
You produce two main collections and two seasonal drops a year, which is less than the average fashion house. How does this work in an increasingly fast-paced industry? I’m curious if you find fault in the pace of the industry as well as the cycle of the fashion calendar and collections.
The fashion calendar is madness. We just had a show in Tbilisi in May with the latest collection, and we are going to Copenhagen Fashion Week in a week with the next collection while working on another one that we will show in four months in Shanghai. By producing fewer collections, we prioritise quality over quantity. This approach allows us to focus on thoughtful design and sustainability, standing firm in a fast-paced industry that often values speed over substance. But I already am feeling how things are becoming faster and faster. This constant need to produce more and more collections, content, and campaigns devalues your work and creativity. How many mind-blowing collections or campaigns made in the past five years can we name? Now do that exercise with the campaigns from the 90’s. I think there’s this trend to go back to the past trends just because there’s not enough time for new inspirations to evolve naturally, and this crazy fast industry forces everyone to come up with new ideas every day.
Over the past three years, the brand has flourished. What has been your favourite moment in the past three years? And what would you like to achieve in the next three years?
The greatest thing I have achieved is putting together a dream team around me. They are the heart of the brand, and I see how we are becoming better every day, finding our own voice, and by that, growing our like-minded audience. We’ve just opened an office in Shanghai and are growing our global presence through retailers, entering the Asian market that has been my dream for a while. I’m proud of my heritage, and I always put a bit of Georgia in our work, but I have always wanted Berhasm to become a global brand that resonates with everyone and is affordable to anyone.
