For Galib Gassanoff, fashion has little to do with chasing trends and more to do with preserving memory. Through his work at Institution, the Georgian Azerbaijani designer explores the intersection of Eastern and Western influences through personal storytelling and meaningful cultural exchange.

Before founding Institution, Gassanoff had already stepped into the fashion spotlight as the co-founder of Act N°1. However, after several years in the system, he found himself craving something deeper. “The fashion industry can sometimes become very fast and disconnected from meaning,” he reflects. “I wanted to slow down and create something more intimate and responsible.” That desire led to Institution, “a project beyond fashion—a social and artistic platform rooted in craft, cultural exchange, and collective memory.”

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Growing up between Azerbaijani and Georgian cultures on the outskirts of Tbilisi played a big part in shaping his perspective. “I was surrounded by different traditions, rituals, textures, and ways of living.” In fact, inspiration rarely begins with a sketch for him. Ideas often emerge through disparate things such as “memories, objects, and conversations—sometimes a carpet, a family photograph, or a handmade textile.”

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These influences are woven throughout Institution’s spring/summer 2026 collection, titled Collection 04. The Chepken vest—a traditional garment prevalent in Turkic, Caucasian and Ottoman cultures—was reimagined as a tailored jacket in wool and bouclé. The collection was also developed with women’s communities from the Masallı and Lankaran regions in southeastern Azerbaijan, using bulrush (Typha Latifolia), a natural material traditionally used to create carpets, baskets, fences, and domestic objects. Harvested from the wetlands near the Caspian Sea, the rushes were dried by hand and woven into wearable structures.

The traditional carpet-making techniques of the Azerbaijani Borchaly community in Georgia were also contemporarised using cotton shoelaces—something that has since become part of the Institution’s visual identity. “I’m interested in materials that already carry a story before becoming clothing,” he shares. “These collaborations are not only about preserving techniques, but also about creating dialogue and visibility for communities that are often overlooked.”

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That ethos has become central to the identity of Institution. While industry recognition has certainly been meaningful, Gassanoff measures success differently. “Of course, being recognised with the LVMH Prize and receiving the Zalando Visionary Award is very important and emotional for me,” he says humbly, “but what makes me proudest is seeing artisans, collaborators, and communities become part of the project and feel represented through it. Fashion should not only take inspiration from communities—it should also give something back.”

Still, building a label rooted in craftsmanship and community comes with its own challenges. “Working with artisans, natural materials, and handmade processes requires time, patience, and trust.” Yet those realities have only reinforced his vision and the values he refuses to compromise on.

Looking ahead, Gassanoff says he wants to build the brand into a cultural platform instead of just a fashion label. “I’m interested in expanding into installations, textile art, publishing, and collaborations with artisan communities across different regions. I also want to keep building the project slowly and consciously, without losing its intimacy and integrity,” he reflects. At a time when fashion often rewards extravagance, Gassanoff’s approach feels refreshingly intentional, as he chooses cultural dialogue and human connection over relentless acceleration.

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