In a world where trends evolve at lightning speed and fashion often yields to commercial pressures, there are still creators who remain anchored in inspiration. Avtandil Tskvitinidze is one of them. His creative journey began during Georgia’s so-called “dark years.” It was through his mother’s passion for elegant, self-made clothing that he first discovered a deep, inner calling toward fashion. For over 25 years, Avtandil Tskvitinidze – founder, creative director, and the visionary behind the label AVTANDIL – has been a defining figure in Georgian fashion. Known for its bold, avant-garde aesthetic, AVTANDIL blends elegance with experimentation in a way that is both fearless and refined. His collections are easily recognized by their asymmetrical cuts, architectural forms, and sculptural silhouettes – a signature that has drawn global attention. Tskvitinidze’s work has been featured in leading international fashion publications, including VOGUE, and worn by global icons such as Mary J. Blige and Lady Gaga – a testament to AVTANDIL’s expanding international relevance. He has presented numerous seasonal collections on major runways, including Mercedes-Benz Fashion Week and other global platforms. In this exclusive Nargis interview, Tskvitinidze speaks about the emotional architecture of fashion, the changing nature of inspiration, the balance between creative freedom and commercial demand – and the quiet laboratory where his most sincere collections continue to take shape.
When did your interest in fashion first begin, and what sparked that curiosity?
I was born into a time defined by scar city – a world where everything was in short supply. And yet, my mother had an unshakable love for elegance. She would buy beautiful fabrics and have garments custom-made. With her strikingly feminine figure and a waist reminiscent of Sophia Loren, finding ready-to-wear pieces that fit her perfectly was nearly impossible. I would accompany her everywhere – watching closely as she selected designs, cut patterns, and collaborated with seamstresses. Eventually, I became part of that process. Even though I had no knowledge of trends back then, I instinctively advised her to accentuate her waist – it felt natural. I believe my eye for silhouette and sense of form was always quietly living within me. For as long as I can remember, I was drawing – first anything and everything, and then, more intentionally, the female form. I sketched on school desks, on margins of notebooks, wherever space allowed. I trained as a sculptor, but one day, purely by chance, I heard a radio announcement about an avant-garde fashion festival. I had never designed a collection before, but something told me to try. It was a time when we had no electricity, no gas, no running water – and yet I sat down, made the sketches, and submitted them. The very next day, I was accepted into the project. I didn’t win. But I made an impression. And that was it – fashion stole my heart, and I’ve remained loyal to it ever since.
What does fashion mean to you – is it an art form, a business, a medium for self-expression, or a reflection of social realities?
When I began my journey, fashion was pure art. There was no strategy, no market logic – just raw, honest creation. I made what I wanted to make, what I felt. I didn’t know the trends, color classifications, or consumer parameters. I had no idea what was in demand – and that was a kind of blissful freedom. I spent nearly a decade in that space – a creative sanctuary untouched by expectation. But then the internet arrived. I began traveling more, exploring the global fashion sphere – and what I discovered brought a quiet disappointment. I realized that much of the industry is orchestrated. Designers are often told what silhouette to follow, which colors to use, even what fabrics to work with. The moment you step into the business side of fashion, art begins to wear the face of commerce. You find yourself creating not what moves you – but what sells. And that shift is devastating for a creative soul. To protect myself from creative and existential crisis, I built a small laboratory – a personal space where I create without compromise. That’s where true inspiration lives. I allow ideas to emerge organically, then slowly refine them – peel away the excess, leave the core intact. Only then do I adapt the piece just enough for it to be digestible for the customer. I honor the original color story, the emotion behind the shape – and in that balance, the design finds its legitimacy.
How is a new collection born for you? Does inspiration come from emotion, historical layers, or the rhythm of the present?
In the past, everything began with honesty – with a feeling, an impression that slowly found shape in fabric, silhouette, movement. Today, that process comes with a condition: consideration. A few years ago, Miuccia Prada said it best – “We no longer tell people what to wear. They tell us.” Now, if you create a piece with eight sleeves, six bows, complex construction and bold colors, it may be classified as art – but it likely won’t have a buyer. Still, for me, inspiration continues to come from within: a mood, an encounter, the energy of others. That’s always been my starting point.But the industry has changed. Deadlines have accelerated everything. Creative processes are no longer allowed to breathe. Designers worldwide are burning out – emotionally and physically. And that’s why we see shorter tenures in major fashion houses. Producing 12 to 14 collections a year – and expecting each one to be authentic, inspired, and carry a “wow effect” – it exceeds human capacity. The pressure is real, and relentless.
Do you have a favorite collection you’ve created? What makes it special to you?
Today, I revisited some of my older work and one collection stood out – my 2007 line. It featured structural silhouettes and architectural forms that, interestingly, I now see echoed on today’s global runways. That made me smile. It felt like a confirmation that I had already spoken something important back then. I believe inspiration lives in the air – and it arrives to each of us at different times. Some catch it early, others later. Today, influences are legitimized. What used to be called “copying” is now explained away as “inspiration,” “reference,” “homage.” One idea can exist in multiple interpretations – and no one really asks who said it first anymore. So when I find shapes in my archive that designers are just now exploring, it tells me something reassuring: I was sensing the future even in the past.
Your collections have often featured subtle elements of national identity. Was that a conscious design strategy or more of an intuitive, inner calling?
It was entirely intuitive. I’ve never approached Georgian themes deliberately – precisely because they demand the highest level of responsibility. National motifs in fashion, when not explored deeply, can so easily become superficial, even decorative in the folkloric sense. I’ve never wanted my design to follow the formula of “Here’s a print, now let’s place it on fabric.” To work with Georgian heritage means engaging in jewelry-level craftsmanship – translating a color palette, a silhouette, and an entire historical code into a contemporary visual language. I’ve experimented a few times, but each time I was left with a quiet sense that I wasn’t ready – not yet. And if I can’t do it with full integrity, I’d rather wait.
What was your first experience like on the international stage?
I stepped into the international scene when I sensed a growing demand for something different – a design language that felt unfamiliar yet intriguing. Fashion luxury had become mass-marketed, and discerning clients were actively seeking something new – new names, new codes, new countries. Paris, Milan, New York, Tokyo – each destination marked a new chapter for me. My collections are now carried by Tokyo Palace, where the standards are incredibly high. They request collections before the season even begins. And their feedback can be ruthless – sometimes they return up to 90% of what they receive. But in my case, it was the opposite. My collection sold out before the season even arrived. They asked for a full reproduction – this time, in greater volume. When I arrived in Tokyo, they told me, “We’ve never had a precedent like this.” A similar moment happened in Paris at Le Suite, one of the world’s top five fashion concept stores. They were working with iconic designers but were looking for fresh blood. At the time, I had a collection with intricate embroidery, feathers, and organza – jackets, skirts, full looks. They purchased the entire line. Within ten days, it was completely sold out. There have been many milestones, but one I’ll never forget was when Vogue.com visited Georgia for the first time. The day after the show, they published a line that still echoes for me: “Mark Georgia. Mark Avtandil.”
Interview: Tatuli Ghvinianidze
Photo: Giorgi Bazaevi
Read Avtandil Tskvitinidze’s full interview in the new issue of Nargis magazine.
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