CHUBIKA – A Georgian View on Fashion

Georgia is a country that is rich in history, nature and talented people. One of them is Nino Chubinishvili. She is a creator of brand CHUBIKA. The thing is that we are not going to talk about fashion label ian its usual way. Nino has defined fashion from an absolutely unique point of view. Architecture, deep philosophy and art are the fundamental issues of CHUBIKA brand. Nino told us a whole history of her professional path and the process of the integration into the world of fashion as she sees it.

You define your brand as a symbiosis between fashion and architecture. Do you remember, when have you begun to get interested in the world of architecture?

I would rather define my brand as a symbiosis of fashion, architecture, sculpture, theatre, costumes, and art. I am working with various media. Everything depends on my ideas and personal vision of the things that I try to create. The bracelets that I have recently designed contain architectural, as well as sculptural aspects. I do not restrict myself with some fashion frames or borders.

From my childhood, I member that all of my family members were connected with art an architecture. My grandfather, when I was just 4 years old, was showing me the images of Italian, Greek and Egyptian architecture. He was a founder of the Institute of Georgian art and history. My uncle and husband are also engaged in the sphere of architecture. Each of them influenced me and shared the unmeasurable experience with me.

 How did you come up with the idea to be a designer and combine clothes with difficult architectural forms and materials?
Of course, my studying at the Academy of the Fine Arts was the most essential background for my present career. But talking about my personal inspiration, I was fascinated with John Galliano, Alexander McQueen, Hussein Chalayan, and Comme des Garcons. As far as I lived in the USSR there was no opportunity to get some magazines, articles or other visual fashion material from the west because it was forbidden. Only a few of my friends that could travel to Europe or the USA brought me Vogue from time to time. I was the happiest person at that moments.

After the crush of the USSR, a pall between us and the rest of the world started to disappear and we’ve got the access to the huge source of information. I was impressed and absorbed with fashion and art that I began to draw and develop my personality in shapes, costumes, fabrics and so on. I started to reimagine the functions and edges of the human body and to express all my ideas into fashion.

Talking about the materials, which textures except of textiles do you use in your collections? Which one was the most unpredictable and difficult to apply?
The most unpredictable and difficult work was my first molded leather dress in 2005. I was studying at IFM Paris. And for sudden, I decided to embody my old sketch that was based on my research of the very first dress, according to the bible version. The lost garden with angels and suddenly appeared female faces had to be the core of the dress. That’s why I decided to insert sculptured figures into the dress and to cover them with 3D leather. That was a real trip! In 2005 no one knew about 3D sculptured leather garments at all. There were no discovered techniques. I can honestly say that I was a pioneer of the 3D leather in fashion.

How much time is it needed to create a complete collection? Is it harder to produce the elements of clothes or accessories?
I live and work in Georgia. Unfortunately, I need a lot of time in order to embody all my ideas. There aren’t enough materials and sources that I can get just being at my hometown. The kind of design, that I am working with, needs difficult cut and technology.

You are a designer that stands against consumerism. Your clothes are more about art and the idea than about things. They are for people that have to understand and feel your concepts, to share your point of view and vision. Tell us, please, was there someone or something that influenced your way of thinking?
My creative vision and the point of view defined my attitude to the garment. As I started to investigate the idea of the first dress, I wanted my dress to express all the feelings that Adam and Eva could feel or even hide. All the stories that we have inside ourselves—may be transformed into the clothes. Consumerism bounds the designers with the rules of the massive consumption and standards. I disagree with that!

The creative process cannot be standardized. I am standing for freedom of art. Art fashion is a great media to explore our human nature. The idea about fashion usage is changed due to the speed fashion. Consequently, the great ideas will be lost apart. My choice is to make small but unique collections, to work with pure art and not restrict myself with established frames of fashion.

The logo of Versace is the face of Medusa. There is also a kind of mythological face on your accessories and clothes. Does it have any prototype and particular meaning?
There is no particular meaning at all. I can claim for sure that it is not from Greek mythology. Moreover, it can be connoted as the part of the animal in human. Everything depends on your own vision and imagination. Don’t forget, I am against the consumerism that means that everyone has a bog field for the creation of own meanings and symbols.

Everything that you create is unique and authentic. How would you characterize or describe a perfect client of your brand? Which features are essential for your buyers?
I see the future in the possibility to ourselves with the accessories and details. These parts of the wardrobe will be important for nonverbal communication. My accessories and hardware contain the human part and history of mankind, the mythology and sociological moments of all people. I see every human being in my accessories. My brand is for every person who shares my ideas. For example, my new collection is for everyone who has already discovered the heroic part of his or her soul and personality. It is for those ones who remember that we are the heroes.

When I took the first look at your collections, I immediately noticed some integrations of the various cultures: fur hats like in national Georgian costumes, silhouettes from Victorian England or headwear with Japanese motives. Does it mean that mostly you get the inspiration from traveling or your sources are absolutely different?
It is absolutely true that the intercultural dynamics are integrated into my collections. But my traveling started in my bed with my grandfather, who was telling me the history of arts of the various countries and nations, when I was a little girl. So all these cultural islands of universal consciousness automatically emerge in my art.

Your idea of a brand is extraordinary, rather than standard. Please give a piece of advice for those artists that are staying only at the beginning of their fashion path. Especially, those people that have some doubts regarding their special concepts and unusual
I would kindly share my experience with them and tell, that if they believe in themselves if they will try to be those ones who they really are and create real things, there is no more value or criteria that can be compared to it. There is no bigger satisfaction than the process of creation. Just follow yourself. Be the hero. This is the idea of my last collection. To find the unique hero inside yourself and to believe. No matter what time and society dictate. Everything changes. The unique ideas stay longer than standardized ones. We are born to be ourselves and follow our ideas.

TOP

FAB L’Style is an international Fashion & Lifestyle magazine with a focus on emerging markets.