The great Georgian artist Petre Otskheli was not allowed to leave behind a vast legacy, yet he created an entire era—not only in scenography but in Georgian culture as a whole. In the 21st century, numerous illustrated books about the artist have been published in Georgian and foreign languages. Those who have come across these books or attended his exhibitions—perhaps even recently at Europalia, at the BOZAR Center for Fine Arts in Brussels, where the exhibition "Avant-garde in Georgia – 1900-1936" was held—have surely discovered a previously unknown great artist, been amazed, and left in awe upon learning that these masterpieces were created by such a young artist. He was a wunderkind in art, and for us—who are still mesmerized by this prodigy scenographer—his exhibitions will be even more valuable, encouraging visitors to take a greater interest in his work, his homeland, and to visit Georgia. What will visitors learn and see in Georgia? They will learn that even nearly a century later, Otskheli still captivates Georgians with the laconic decorations and delicate costumes of Uriel Acosta, which together create an eternally immortal, living canvas. If a visitor goes to the artist's hometown of Kutaisi, they will proudly hear that this great artist of European caliber was born in this European city, in the family of a Catholic merchant. At 20 years old, Petre was already in Tbilisi, studying at the Tbilisi Academy of Arts. At the same age, he designed a production for the Workers' Theatre. His sketches deeply impressed Kote Marjanishvili, who invited him to the theater. In less than two years, a masterpiece was born—the eternally immortal Uriel Acosta. Here, in this country, both inside and outside museums, visitors will undoubtedly hear the tragic story of how the Red executioners took his life. Petre Otskheli’s works can be seen at the Marjanishvili Theatre Museum, the Palace of Arts, and the Simon Janashia Museum of Georgia. After viewing them, just like scenography specialists, foreign visitors will also realize that Otskheli’s art never ages—it only becomes more and more modern over time. This will become even more evident when they see young people on the streets of Tbilisi wearing hoodies and T-shirts printed with Otskheli’s sketches. Many will wonder how Otskheli managed to create such art in the Soviet Union, where constructivism was declared formalism and suppressed. The theater saved Petre Otskheli—he was a theater artist and was merely perceived as a set designer, a background creator. However, he was not just creating backgrounds; he was shaping the metaphysical environment that guided actors’ actions, gestures, and speech styles. Otskheli loved the theater with all his being and felt its essence. He loved actors, who became his muses. Their inner temperament and plasticity were transferred into his sketches and later onto the stage. His favorite muse was the great actress Veriko Anjaparidze. A person interested in Otskheli’s work who visits Tbilisi will find a sculpture in Mtatsminda Pantheon depicting the great Georgian actress precisely in the role of Judith—wearing a Petre Otskheli-designed costume and seated in his envisioned chair. A similar statue adorns the courtyard of the Marjanishvili Theatre as well. The artist was executed in 1937 at the age of 30, but nothing could diminish the vitality and immortality of his art. Decades later, his work crossed borders, breathing new life into the artist. Petre Otskheli has become one of the faces and symbols of his homeland within the broader European cultural space, where he has always belonged—by the rank, essence, and nature of his work.

"Borjomi" is not just water—it is a natural heritage that reminds us that true wealth is hidden in nature. It not only nourishes us with minerals but also offers the experience of a place where the connection between humans and nature is still palpable in Georgia. Here, we will share one of the most remarkable stories of such connection. If you want to see the life of the North Caucasus and Georgia’s mountainous regions, if you love hiking, if history interests you, if you are looking for a new adventure, or if you simply want to see something in Georgia that you have never seen before, then you must visit Truso Valley. When you arrive in Kazbegi, you can ask anyone how to get to Truso, and they will gladly give you advice on how to prepare and what not to miss. Planning and preparation (as always) will be essential. So, you enter Truso Valley. The first place that greets you is the village of Abano. It is a beautiful village. Although it is called a village, no one actually lives there (just like in nearly twenty other villages in the valley). Only a monastery remains, where monks reside—just as most monks do in Georgia’s highlands, in beautiful natural surroundings, in a kind of light solitude (if such a thing exists), following a strict routine, and always ready to welcome travelers. In general, a sense of readiness is felt at every step in the valley. Even in pre-Christian Rome, the strategic importance of Truso Valley was well understood as a defense line against northern invaders. And, as always, this primarily influenced architecture—but we will discuss that further below. A few hundred meters deeper into the valley from the village of Abano, there is an active border checkpoint, where having your documents in order will come in handy. It is a small outpost, and the guards serve as border protectors do near Georgia’s more "tense" borders—under conditions that may not seem comfortable from a tourist's perspective but with remarkably good spirits and an unwavering love for their country. Sometimes, they roast sunflower seeds on a small stove and will insist on offering you some. If you spend more time with them, they will point you to a nearby spring and convincingly explain why you must try its water. For example, I was given this explanation, and tell me if it doesn’t sound convincing: "Whenever we get stomach aches from eating canned food all the time, we drink from this spring. Our stomachs rumble for a minute or two, and then we immediately feel better." The stones around the spring are reddish in color, but this does not surprise you because you have already seen Truso’s famous travertines along the way and know that the spring is mineral-rich, or as the locals say, it "bubbles." Truso Valley is also home to the "Bottomless Lake," which, like the springs, is entirely filled with mineralized, carbonated water. Unlike the springs, though, here you can actually see the bubbling water with your own eyes (locals also call it "Bubbling Lake"). From the border outpost, you can already see the first abandoned village deep in the valley—Burmahevi. It seems as if it was intentionally positioned to look impressive from the outpost, so that if you arrive unprepared and cannot proceed further, you will be compelled to return again. From a distance, the first thing you notice is what Georgia’s mountain people take pride in—the towers remain standing the longest. It is hard to believe that just 30 years ago, Truso’s villages were still inhabited and that people lived in houses that are now reduced to mere walls. Instead, you get the impression that the area has been abandoned for centuries. This is largely due to the harsh winters, but locals also say that tourists and shepherds share some of the blame. (So, if you decide to visit the valley, keep in mind that for your own safety, it is best not to damage what has to survive yet another winter.) As you follow the Tergi River deeper into the valley, you see that almost every hilltop has a tower. Not long ago, every one of these spots was home to a village. If you are traveling with someone who regularly visits Truso, you will undoubtedly hear remarks like: "Last year, this crack wasn’t here.""This wall was still standing last year.""The towers hold up better.""Next winter, it won’t survive." This only strengthens your desire to go further into the valley, to see all the villages while their traces still remain. Gradually, as you ascend (after all, you are nearing the source of the Tergi River), the oxygen levels drop, and you find yourself tiring faster than you expected. But it is still worth reaching the end of the route—the village of Resi, which stands at an altitude of 2,405 meters above sea level. What does it mean for a village to exist at 2,405 meters above sea level? It means that at one time—not long ago, in fact, until 1989—Resi was the highest permanently inhabited village in Europe. It was higher than Ushguli (the previous record-holder) and higher than Bochorna (the current record-holder). Now, however, Resi stands empty, just like the rest of the valley. Finally, let’s just say that getting to Truso Valley is difficult, but not impossible. Bad roads and harsh weather are not the biggest obstacles—you can always hike several dozen kilometers or choose the right season. But if you do not fill out a special application form several days in advance and notify the national security authorities responsible for border safety about your route, you will only get to see the beginning of the valley. That means you will have to turn back, carrying only 10% of the impressions that await further ahead. So, you arrange your paperwork, plan your route, and set off.

Brands make memorable appearances in movies, creating moments that even leave actors envious. Consider the iconic moment of Dr. Pepper and Forrest Gump – an episode that forever associates the drink with the film in people's minds. Directors often integrate popular brands into movies to depict reality as authentically as possible. Borjomi is no exception, as a brand with a rich tradition and cultural significance appearing in numerous films may surprise you. Some of these instances are truly unexpected. While Borjomi's inclusion in Soviet and post-Soviet films is unsurprising, its appearance in Soviet science fiction set in the distant future is genuinely unexpected. In Solaris, during a conference scene on solaristics, director Andrei Tarkovsky places bottles of life-giving water on the table. Despite convention suggesting the label should be hidden, Tarkovsky deliberately exposes the Borjomi label on screen, expressing his deep belief that Borjomi would endure into the future, gracing the tables of scientific conferences. The Blue Mountains and unbelievable story. In Solaris, the appearance of Borjomi may be an unexpected surprise, but it is certainly not in the Blue mountains and unilivable story. As Soso searches for a reader in the publishing house building, the employees play chess, and at that moment, one of the players reaches for a bottle of Borjomi. The blue mountains authentically reflect the reality of that period, where Borjomi was an integral part of everyday life, contributing to a sense of authenticity familiar to all. Taking a leap forward, let's explore "The Bourne Ultimatum." Jason Bourne, a high-level spy on a quest for self-discovery, embarks on a long, dangerous journey filled with adventures. In this journey, the character played by Matt Damon encounters a bottle of Borjomi. In David Cronenberg's "Eastern Promises," Borjomi shares the screen with stars like Naomi Watts, Vincent Cassel, and Viggo Mortensen. Set in London, the film revolves around the Russian mafia, featuring Georgian actor Davit Papava alongside Borjomi. Borjomi also makes an appearance in the 2003 film "Beyond the Edge," starring Clive Owen and Angelina Jolie, where the main characters strive to save the world. While the circumstances of Borjomi's presence in this film remain unknown, it underscores the principle that nothing on screen happens by chance. In "The Terminal," one of Tom Hanks' most memorable roles, where he portrays a citizen of the fictional state of "Cracogia" stranded in an airport terminal due to war, there is a scene where a bottle of Borjomi is placed near his head. This clever touch suggests the character is from Krakozhia rather than being a real Georgian.

"Asa - called Garcia Ochiauri. Asa was giving Ban a river!" García Ochiauri, Archotion, the last Mohican of the village, bids farewell to his beloved mountains with an ecstatic dance. I don't know if Goderdzi Chokheli knew anything about Mahasamadhi, but it is a fact that Garcia Ochiauri's dance describes the highest level of yoga. Achieving yogic perfection is very much like losing a dancer's groove and attaining absolute freedom. Garcia transmits in dance all the emotions that are delivered from the high mountains; Garcia receives and Garcia gives. Dance expresses what cannot be expressed by language, what the body cannot contain. These simple emotions are not the juice of life that flows from the dance, like amrita, divine nectar, or life-giving water from the spring of Borjomi. The diversity of the Georgian language is indisputable, but sometimes even it cannot fully describe our emotions; the whole body demands to be ripped out and whoop! It is at this time that we start moving, conveying indescribable feelings with our body! Perhaps this is how Georgian dance was created - the revived history of our country and people. One dance and many battles, love, victory, sadness, jokes, or cunning. Everything is collected. Georgian dance is as emotional and diverse as the character of Georgian people. And the dance of each corner is as individual as the nature in each corner. Some are sophisticated and elegant, some are harsh and fierce, some are soft and even a little fun! We can say that in our life, we also went through the emotional storm that we see in Georgian dance! Now we look at it, so ingeniously rendered, and... we cry. The phenomenon of dance moves beyond the scope of one particular country. It is the pain and excitement expressed in the movement of fighters, seekers, artists, peasants all over the world. Dance has no boundaries. Georgian dance goes beyond human boundaries. In each movement, you can see the intensity of rushing rivers, the pride of invincible mountains, the eye-catching hiss of fire, or the mystical whisper of a forest. One particularly impressive dance is the "Khanjluri." According to legend, the dizzying technique of jumping in the air and jumping in the air, shown in this dance, contributed to Didgori's mighty victory. They say that one of our fighters would jump into the enemy's back, get on his knees, start swinging daggers and take 30 warriors with him! This story is told by the dance "Khanjluri." Nobody has written so well about Georgian dance; the writer attended 4 performances of Sukhishvili in Geneva in 1962, when they started introducing Georgian dance to the world! Grigol Robakidze writes in his brilliant essay "Georgian genius scattered with rock": "More and more" is needed. It cannot find a limit to stop. It is attached and attached to the edge. At the same time, in this "combination" "measured and flexible" are one and the same. The master of the limitless shows it in the limit, leaps to the limitless extent. Maybe that's why it was a particularly exciting sight when the Sukhishvilis performed in India on the "Mahashivaratri" holiday, where they performed their fire dance right in front of the 35-meter statue of Adiyogi, the first yogi, Shiva! Shiva dances, and his dance creates and destroys the worlds. Georgian dance is like that, full of energy that can destroy and create new ones. Dancing with Shiva was an incredible synthesis of ecstatic rock and total meditative serenity, watched by a record audience of 140 million people. For comparison, one of the most-watched broadcasts, the Super Bowl, had 114 million viewers. Additionally, 140 million people saw what "Georgian genius, covered in rock" is like, 140 million people shared Amrita from Georgian dance. Sukhishvili has been traveling to different continents of the world since 1948, more than 200 tours, more than 19,200 performances and more than 60 million people sharing Georgian culture. Like the Sukhishvili family, we also try to inform the whole world about Georgia. Moreover, we have united even more! Especially for the Borjomi ring, "Legend brought to life" Sukhishvili brought our culture to life once again in the background of the beautiful mountains of Georgia. Dance tells a story; dance also tells what cannot be conveyed by language. Georgian culture is full of indescribable phenomena, so it is not surprising that dance plays a special role in our revived legend. A dance that is the way home, a dance that takes you beyond your limits, a dance that takes you to the source of life.

Where does fashion originate? In its inception, humans likely began donning clothing to adapt to climatic conditions and shield their bodies from various plants and insects. At times, leaves were used for cover, while in other instances, animals were skinned and dressed. Eventually, the first thread was even drawn from the stem of a plant by human hands. This initial thread, now 34,000 years old, was discovered in Georgia! Half-jokingly and half-seriously, it can be claimed that, in addition to wine, bread, and dancing, Georgia is also the birthplace of fashion. This isn't surprising because inspiration in fashion is drawn from the palette of nature, historical sources, architecture, and the vibrant tapestry of everyday life. We don't bemoan a lack of information; neither do we lack creativity nor rebellious spirit. Inspiration + creativity + rebellious spirit and courage — this is the formula for creating impressive works of art! Alongside creativity and courage, Georgians are characterized by pride. We love our country, nature, culture, and history, and we proudly emphasize our identity and uniqueness. Fashion serves as the perfect medium for this expression. The modern modeling industry is not merely about producing clothes; it is an expression of one's inner world and a form of rebellion. A designer acts as an alchemist, transforming the combination of fabrics and colors into self-expression and self-belief. The designer is a medium who must perceive people's demands from the future and respond to those demands. Many Georgian designers achieve success on the international fashion stage, showcasing their works in leading exhibitions in New York, Milan, Berlin, or London. You will encounter them in "Concept Stories." David Koma stands out as a prominent representative of Georgian fashion. In 2009, he founded his own brand, David Koma, and has been the art director of Thierry Mugler since 2014. Koma's aesthetic is characterized by minimalism, a limited color palette, and the use of elements such as metals, beads, and geometric figures. His signature is sharp shapes inspired by the female silhouette. Among the consumers of Georgian designers' clothing are global stars like Beyoncé, Rihanna, Lady Gaga, Jennifer Lopez, Gal Gadot, Kristen Stewart, Bella Hadid, and more. His creations provoke thought and emotion, raising questions and inspiring a new vision. David Koma also incorporated Georgian chokhi elements into his design. In a comment to VOGUE, Koma mentioned the "Georgian" dance, in addition to Chokhi, as a source of inspiration and described it as a dramatic "clash" between a man and a woman. Incidentally, David Koma designed a limited New Year's jar exclusively for Borjomi! I'm delighted to share the result of the Borjomi and Koma collaboration with you through the link. Another notable figure in modern Georgian fashion is the brand Situationist, founded by the self-taught designer Irakli Rusidze in 2016. The brand represents a fusion of Georgian historical heritage and avant-garde vision. Imagine 32-time Grammy winner Beyoncé opening two shows of her Renaissance World Tour with designs by David Koma and The Situationist. The "Renaissance" tour stands as the largest and highest-grossing tour by a female artist of all time. Georgian fashion serves as one of the instruments through which we convey our voice to the world. It is an incredible blend of tradition and innovation, the rich historical and cultural heritage of the country, European and Asian influences, and a harmonious blend of past and future. This, perhaps, is its uniqueness. Foreign travelers who visited Georgia also noted the talent of Georgians in dressing according to taste. It is a great privilege for us to support Georgian fashion, which is why Borjomi is a sponsor of Tbilisi Fashion Week.