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This makes for the contemporary issue of most Eastern European countries: historic city buildings continue to tumble down, neglected by often corrupt heads of state, who rarely inject any money into cultural initiatives, leaving this task of paramount importance to young entrepreneurs and creatives, who express their commitment to their country in their own way – think self-funded and self-organized workshops and ateliers, creative designer brands, and independent cultural events. When I see Georgian designers, who are creating something out of nothing, it gives me the feeling that we Georgians can do something in fashion because we really feel its artistic, non-commercial side – because we know that this side is vital to the brand more than anything else,” she said. I used to want to work as a designer abroad, but now I think I have to be based here to make it,” he said. One thing is certain: Balenciaga's Demna Gvasalia and Mugler's David Koma are not the only Georgian-born designers that the fashion industry will learn to cherish in future.

So each season is more about where she is going to turn her rose colored regard and how she will use an era, place or muse to create another collection of clothing made to make women look lovely. She started with negligee, blush-hued semi-sheer chiffon dresses and lace jumpsuits, sometimes harnessed in by grosgrain ribbon festooned with flower beadwork. In their denim pants and skirts that melted away into flower motifs and chiffon hems, or their lilac suede dresses and maxi floral print gowns, worn with crochet ballet flats or gladiator flats, the models looked ready for a romantic love in. Their woven macramé suede vests worn over pure cotton and lace maxi gowns or shorts paired with laser cut flower ponchos, the fringe edges falling long to caress bare thighs, proved that Ferretti’s muse this season served her very well indeed.