
THE BEAUTY CAMPAIGN
Georgian brand BERHASM and artist Tonya Uglova create THE BEAUTY, a limited-edition art object.





THE CONCEPT
In creating THE BEAUTY, the brand and the artist turned to Georgian and Slavic legends. Georgian folk tales tell of Dali, a beauty who lived in the forest: any careless hunter who fell in love with her never returned home. Old Slavic legends have their own beautiful maidens, the rusalki, who lured travellers with their beauty and led them away into the marshes.

THE CONCEPT
In creating THE BEAUTY, the brand and the artist turned to Georgian and Slavic legends. Georgian folk tales tell of Dali, a beauty who lived in the forest: any careless hunter who fell in love with her never returned home. Old Slavic legends have their own beautiful maidens, the rusalki, who lured travellers with their beauty and led them away into the marshes.

All these legends say the same thing: a demon may hide behind the most beautiful face, yet it is not beauty’s enemy but its essence. THE BEAUTY shows both the face and what lies behind it.
All these legends say the same thing: a demon may hide behind the most beautiful face, yet it is not beauty’s enemy but its essence. THE BEAUTY shows both the face and what lies behind it.




“At BERHASM, we talk about the roles and labels we are handed, and about what lies beneath them. THE BEAUTY is a manifesto and an embodiment of that idea. We romanticise objects and rituals that carry memory. A childhood toy is the oldest object with memory; the beauty ritual is the oldest ritual. This is an object you live with, not an accessory for a season.” — Beso, founder and creative director of BERHASM

“At BERHASM, we talk about the roles and labels we are handed, and about what lies beneath them. THE BEAUTY is a manifesto and an embodiment of that idea. We romanticise objects and rituals that carry memory. A childhood toy is the oldest object with memory; the beauty ritual is the oldest ritual. This is an object you live with, not an accessory for a season.” — Beso, founder and creative director of BERHASM


“The image came first: a creature with a split face. I liked that it was a little frightening and touching at the same time. It’s furry, you want to touch it and take it with you, even though its face is anything but harmless. For me, it’s connected to the side of ourselves we don’t really want to show others. We’re afraid it will turn out too strange, too inconvenient, that we won’t be accepted with it. I like to imagine that here this side has been given a body of its own and can now simply go everywhere with you on your bag. You no longer hide it. There’s also a thought about fear: when something frightening is always near, you start to notice something funny in it, something familiar, even tender. Little by little, it becomes your own. I suppose for me this object is a chance to tame a little of what scares us in ourselves, to give it a place in everyday life. You can even carry it with you.” — Tonya Uglova, artist and sculptor

“The image came first: a creature with a split face. I liked that it was a little frightening and touching at the same time. It’s furry, you want to touch it and take it with you, even though its face is anything but harmless. For me, it’s connected to the side of ourselves we don’t really want to show others. We’re afraid it will turn out too strange, too inconvenient, that we won’t be accepted with it. I like to imagine that here this side has been given a body of its own and can now simply go everywhere with you on your bag. You no longer hide it. There’s also a thought about fear: when something frightening is always near, you start to notice something funny in it, something familiar, even tender. Little by little, it becomes your own. I suppose for me this object is a chance to tame a little of what scares us in ourselves, to give it a place in everyday life. You can even carry it with you.” — Tonya Uglova, artist and sculptor













