{"id":370441,"date":"2026-08-11T18:14:17","date_gmt":"2026-08-11T16:14:17","guid":{"rendered":"https:\/\/germany.10magazine.com\/?p=370441"},"modified":"2026-08-12T15:17:48","modified_gmt":"2026-08-12T13:17:48","slug":"institutions-galib-gassanoff-on-his-spring-summer-2027-collection-at-copenhagen-fashion-week","status":"publish","type":"post","link":"https:\/\/germany.10magazine.com\/en_gb\/institutions-galib-gassanoff-on-his-spring-summer-2027-collection-at-copenhagen-fashion-week\/","title":{"rendered":"Institution’s Galib Gassanoff on his SS27 collection at Copenhagen Fashion Week"},"content":{"rendered":"
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Set in one of Copenhagen\u2019s most impressive buildings, the Statens Museum for Kunst, designer and \u201cZalando Visionary Award\u201d 2026 winner, Galib Gassanoff showed his latest collection for Institution in the Danish capital. CPHFW is broadly known for bold prints, fearless use of colour and an ever-growing obsession with streetstyle \u2013 both at venues and in the front rows. His take on SS27 was refreshing and different, because none of the above mattered.<\/span><\/p>\n

Entitled \u201cYAD\u201d, meaning \u201cforeign\u201d or \u201cstrange\u201d in his native Azerbaijani, the Georgian designer showcased a high level of craftsmanship that was multifaceted in both technique and influence. Gassanoff\u2019s Institution operates as a social-artistic organization as opposed to a brand and is the creative\u2019s way of being in touch with his cultural heritage, translating it into pieces that carry meaning beyond mere notions of surface ornamentation.<\/span><\/p>\n

However, this collection\u2019s beauty cannot simply be ignored. Models walked down carpets from the Caucasus, Anatolia, Northern Iran and Central Asia, dressed in neutrally toned looks that skilfully sat between fluid lightness and sculptural structure. While timeless dress pants, mostly in black, served as a stable base, tops made from silk, cashmere and mohair were either wrapped around upper bodies to accentuate silhouettes or acted more like cocoons, adding volume and layers. All looks were completely void of classic accessories. No bags, jewellery or, most notably, shoes, because in the Caucasus, one removes them before entering a house \u2013 or in this case, this collection\u2018s home: a museum.<\/span><\/p>\n

10 DE sat down with the designer behind the instant contender for \u201cfavourite show\u201d SS27 in Copenhagen to discuss his latest collection, his way of working, and his experience with Zalando\u2019s \u201cVisionary\u201d-programme\u2026<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Why did you choose the National Gallery of Denmark as the show location?<\/b><\/p>\n

I asked if we can have a space that is special to Copenhagen. It is a monument that has a certain significance to it. So, I’m very happy that the museum decided to host us. My idea of \u201cinstitution\u201d is to create something where different communities and ideologies can coexist. The idea is to showcase my work in exactly that context by bringing Institution to this literal institution here in Copenhagen. Also, clothing in and of itself has a very simple definition, but by placing it in a museum, it becomes an art piece.\u00a0<\/span><\/p>\n

Craftsmanship is central to your work. Could you explain your processes and techniques as well as your overall relationship with fabrics?<\/b><\/p>\n

When I work on a collection, I always start with textiles \u2013 something real, something I can touch. Developing pieces through sketching feels very flat to me. There are, of course, many paper patterns, but since I am not only a designer, but also a tailor, I work a lot with fabrics in a 3D-way. Generally, we do a lot of traditional tailoring, especially cuts and finishes from the 50s and 60s, to achieve specific shapes. We mainly work with natural fabrics. Silk, cotton, wool. And I incorporate a lot of traditional craft in my designs. Much of my research evolves around Georgia and Azerbaijan, so there is, for example, knotting and knitting by hand or vertical looming. I never want to change the traditional craft, which you can see in the socks, \u201cjorabs\u201d, the models were wearing on the runway for this collection. There was no redesigning by me at all, the artisans made them. I sculpt as well. Creating cushions and different kinds of shoulder pads, also for the hips, to emphasize and redo shapes as well as giving dimension. Not many people are doing the classic 50s-padding anymore, so mixing this very couture-like approach with new contemporary techniques is very appealing to me. <\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Can you remember the first technique you’ve ever mastered?<\/b><\/p>\n

I’ve been very physical since childhood, always working with my hands. But the difference with techniques is that they are something you learn and practice to perfection for years. What I am really good at, I think, is sewing a garment with a machine.<\/span><\/p>\n

Any special techniques used for this collection?<\/b><\/p>\n

What I’m not too good at is knitting. Which is why I went to Georgia to meet artisans there to explore that further. Similar case with making looms, actually. In Italy, we developed a contemporary way of creating them, based on how kilim carpets are made, using cotton cords we produce ourselves in the studio. Of course, I know and am able to work with these techniques, but it\u2019s very complicated and hard.\u00a0<\/span><\/p>\n

From your own life to working with artisans, heritage plays a substantial role in your approach and designs. Why is it especially important right now in the industry to incorporate influences that go beyond what everyone believes to be the epicentre of fashion?\u00a0<\/b><\/p>\n

The first thing that comes to mind when we say \u201cfashion\u201d is editorials. You know, all the glam, makeup and pretty dresses. I think it devalues the real essence of making, because the industry of textile and clothing is actually something very important. Its history is hundreds of years old. We have to see the value that lies in human touch and educate ourselves and our surroundings on how to be more conscious \u2013 both in terms of producing and communicating. We should avoid shallow approaches, be more profound. Clothing is a choice, and what you wear is how you identify and represent yourself. It\u2019s very personal. I think the industry needs to focus more on quality and meaning. Yet, in the end, the customers will always go for what speaks to them, regardless of everything else. <\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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One thing I noted down while watching the show was the word \u201ccocoon\u201d. Does that resonate with you at all?<\/b><\/p>\n

It\u2019s so interesting to hear how spectators perceive everything. Trenchcoats were on my mind a lot working on this collection. A huge piece of fabric wrapped around and belted on, pleated at the waist and padded to be surreally shaped. A monumental garment, redefined via sculpting and shaping. So yes, the idea of a cocoon resonates. And also, the previous collection I showed in Milan last February had lots of cocoons as well \u2013 we literally referred to these pieces as such.\u00a0<\/span><\/p>\n

My favourite details were the coins. I loved them, because not only do they look great, but they also made this really soft sound. Almost like a wind chime. What kind of coins are they?<\/b><\/p>\n

They’re ordinary coins that have been in circulation as fractional currency in Georgia since 1995, a time when the country first gained independence from the former Soviet Union. It was my little tribute to democracy and independence. Also being born in the 90s, I\u2019ve grown up with these coins. Wearing them like that, attached to the fabric that tightly hugs the body thanks to hooks going down the centre in the back, everything becomes a flat surface \u2013 like a wall piece or a tapestry. And since these are original coins, every piece is a one-of-a-kind collectible. <\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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It must have been difficult to attach the coins onto the sheer, light fabric, and not have them tilt too much.\u00a0<\/b><\/p>\n

It was one of our biggest challenges, actually. We couldn\u2019t stitch them on, because it would be pulling the fabric \u2013 it\u2019s silk, so it tears easily. Plus, the coins are heavy, nothing like sequins. We went with adhesive, evenly distributed onto the material.\u00a0<\/span><\/p>\n

This was your first time showing in Copenhagen.\u00a0 How does it differ from Milan? What does the atmosphere feel like to you?<\/b><\/p>\n

I feel more chill here. In Milan, the atmosphere is a little bit more heavy. We are very used to Milan, though, because that\u2019s where we\u2019re based. Very in touch with the local industry, the production facilities and the city itself. Having to ship the collection all the way here to Copenhagen, we were honestly just hoping all the luggage makes it here \u2013 and back too. A unique one-week experience that we will never forget, for sure.<\/span><\/p>\n

Zalando has been a huge supporter of Institution \u2013 both on a financial and mentoring level. How has the whole experience been, winning the \u201cVisionary Award\u201d and now showing at CPHFW?<\/b><\/p>\n

It is a great opportunity to discover another market and encounter people from in- and outside of the industry. Very refreshing and a huge inspiration. For the past four months, we have been preparing this collection along with the entire production \u2013\u00a0 weekly calls, organizing everything. And, of course, I am very honoured by the jury having selected me and chosen me as the winner. The judges are people I admire and respect a lot, who have all been nothing but supportive to me. Overall, an incredibly positive experience.\u00a0<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Text LISA ZIRNGAST<\/p>\n

Photography JAMES COCHRANE<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"Set in one of Copenhagen\u2019s most impressive buildings, the Statens Museum for Kunst, designer and \u201cZalando Visionary Award\u201d 2026 winner, Galib Gassanoff showed his latest collection for Institution in the Danish capital. 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