Galib Gassanoff on the Future of Craft
On the morning of the 6th of august, we were invited into the National Gallery of Denmark.
Stepping into the museum and taking in its architecture already felt beautifully considered, before we entered the naturally lit corridor that had been transformed into the runway.
The Designer Galib Gassanoff, founder of INSTITUTION, presented his distinctive fashion with YAD, his debut runway collection at Copenhagen Fashion Week, as this year’s winner of the Zalando Visionary Award 2026, in a pair of wool socks.
Galib Gassanoff:
I see INSTITUTION as more than a fashion label. It is a platform where clothing becomes a means of passing on knowledge, telling stories and creating a dialogue between generations. The vision is to show that craftsmanship is neither nostalgic nor static, but a living language that can evolve alongside contemporary design. Each collection is an attempt to build precisely this bridge between tradition and modernity.
GG:
For me, innovation begins with asking better questions rather than simply creating something new. Every decision, from the way we develop patterns to the people we collaborate with, is guided by the belief that design should carry meaning beyond aesthetics. Our social commitment comes from supporting artisans, preserving techniques at risk of disappearing and creating opportunities for exchange. Design is only successful when it creates value not only for the person wearing it, but also for the people involved in making it.
It means having the courage to remain true to an idea, even when it doesn’t align with the expectations of the industry. It means thinking long-term, building a brand responsibly and making a meaningful contribution to culture rather than simply reacting to the market. For me, vision comes from consistency and curiosity.
Absolutely. Growing up in Georgia gave me an understanding of craftsmanship that extends beyond technique. It taught me that making things is connected to memory, resilience and identity. I don’t approach cultural identity through literal references or folklore. Instead, I try to translate its values like precision, respect for materials and dedication to the act of making into contemporary forms that feel relevant today.
GG:
That was the intention from the beginning. I didn’t simply want to establish a fashion label, but to create a platform for craftsmanship, a space for cultural research and the exchange of knowledge.
The name INSTITUTION reflects exactly this ambition: it represents a place where ideas can be preserved, developed and passed on.
Clothing is one expression of this vision, but it was never the only one. Collaborating with artisans, documenting traditional techniques and creating dialogue around our cultural heritage have been fundamental to the project from the very beginning. For me, fashion is a powerful medium because it connects people. But the larger goal has always been to build an institution that contributes to preserving and developing craftsmanship for future generations.
GG:
I don’t see them as opposites. Craftsmanship has always evolved. Every tradition exists because someone was willing to adapt it to their own time. My role is not to preserve techniques unchanged, but to understand their essence and allow them to evolve through new materials, new technologies and different contexts. Respecting tradition doesn’t simply mean repeating the past; it also means giving it a future.
Respecting tradition doesn’t simply mean repeating the past; it also means giving it a future.
GG:
For me, the runway show is the final chapter of the collection. It isn’t simply a presentation of my work, but an environment in which every element comes together to complete the narrative. The looks exist in dialogue with space, movement, rhythm and sound. Together, these elements create an atmosphere that allows the audience to experience the collection on both an emotional and sensory level. I am continuing my collaboration with composer Etibar Asadli to develop the soundscape for the show. Together, we are creating a dialogue between electronic music and traditional instruments from the Caucasus, building an emotional bridge between the visual and auditory experience. I want to invite the audience to slow down, observe the construction of each individual look and engage with the ideas and craftsmanship that shape the collection.
It is a very special moment because it recognises a way of working that has always prioritised patience over speed. From the beginning, INSTITUTION has been about building something with lasting value, something that values craftsmanship, culture and human connection just as much as the finished garment. Receiving this recognition at this stage of my career gives us the confidence to continue investing in these values. It also gives us the opportunity to deepen the conversations we are trying to initiate around preservation, education and the future of craftsmanship.
GG: We will be presenting Collection 06 in Copenhagen. In this new chapter, I continue to explore monumentality through cutting, draping and sculptural construction. The silhouettes are built through exaggerated volumes and strategic padding that reshape the body, challenge conventional proportions and create a powerful architectural presence. A recurring element throughout the collection is the dialogue with my cultural heritage as an Azerbaijani born and raised in Georgia. The collection brings contemporary construction into conversation with craftsmanship from Kvemo Kartli, the region I come from. As part of this collaboration, we are presenting knitwear made by local artisans, honouring their knowledge while helping to preserve techniques that have been passed down through generations. The collection also includes three special looks that pay homage to Georgia’s independence from Soviet occupation. Rather than treating history as a literal reference, these pieces reflect resilience, identity and cultural continuity, weaving both personal and collective memory into the language of contemporary fashion.