BERHASM’s new holiday story, THE MORNING AFTER, drifts into that suspended moment on January 1st, when friends wake up scattered across an apartment after a night that felt like it would never end. Instead of the usual polished New Year gloss, BERHASM turns the camera toward everything that’s usually cropped out: tired faces, smudged eyeliner, glitter stuck to skin, the chaos of a night survived, and that strange, unexpected calm that follows.
The cast is made up of real characters from the BERHASM world. Nina, the photographer who spent all night shooting everyone else, ends up in the frame herself at sunrise. She sits in the bathtub in a black dress, wet eyeliner, holding a champagne glass dusted with glitter. Ilya and Sofi, the ex-couple who never quite learned how to be “just friends”, fall asleep against a concrete wall, tangled in streamers and a disco ball, wrapped in a sporty jacket and a black BERHASM shirt.
DJ Kaya, with cropped hair and a single long earring, finds a moment of peace beside the vinyl player, trying to stretch the last track just a few minutes longer, as if that could stop the night from ending.
Then there is Levan, the elder friend, musician, old-school legend, the quiet heartbeat of every party. His long silver hair, black BERHASM jacket and metallic glitter tears turn him into an emblem of all the nights he has already lived. In the nocturnal shots, he is lit in warm red. By morning, he is washed in cold grey. In that contrast lies everything he has been through, and his right to one more party.
Dancer Maya lies on the floor. Her heel presses into a tiny disco ball. Around her are confetti, lipstick traces, collapsed ribbons. Last night she was the show. Today she is part of BERHASM’s installation.
The youngest characters, Liza and Tim, sit on a bed facing opposite directions. Liza is a platinum blonde with bold smoky eyes. Tim wears a graphic BERHASM long sleeve and sunglasses pushed up on his head. They don’t yet know what the new year will bring, but they already know how they want to look in it.
Visually, THE MORNING AFTER moves between two worlds: night and morning. Flashbacks from the party glow with warm light, tinsel reflections and the shimmer of disco balls. The morning scenes feel stripped down, cold, almost monochrome. Sunlight cuts through curtains, revealing every wrinkle of fabric and every emotion on their faces. The camera jumps between “before” and “after”: Kaya’s face in lamp light to Levan’s quiet stare on the couch, Maya’s heel in motion to Nina’s stillness in the bathtub.
The cast wears BERHASM’s key silhouettes of the season: longline jackets and coats, wide trousers, graphic long sleeves, black dresses, high boots and metal-detailed accessories. Nothing looks prepped for a shoot. The clothes are wrinkled, marked, lived-in, carrying the evidence of the night. BERHASM frames this not as imperfection, but as truth: clothes that move with people through their dancing, their mistakes, their embraces and the silence of the morning after.
“We wanted to show New Year’s the way everyone actually knows it, but almost no one shows,” says BERHASM founder and creative director Beso Turazashvili. “Not the perfect midnight photo, but the morning when you wake up on the floor, in the bathtub, on a couch, see the familiar faces around you and realize the most valuable thing is the people who stayed.”
THE MORNING AFTER is a story about different generations and different lives, connected by one feeling: belonging. BERHASM is for those who haven’t fully figured themselves out yet, but already feel their freedom.
