EZO FESTIVAL — SEASON 2024
Problem
Georgia’s biggest electronic music and arts festival was facing a brutal question: how do you celebrate while the country is in political crisis? As the government pushed authoritarian laws, democracy rapidly eroded, and peaceful protesters were abused and detained, the founders struggled to justify running a festival at all — both to the audience and to themselves.
The task was to find a perspective that made continuing feel not apologetic, but necessary.
Insight
EZO had always been unapologetically joyful, almost detached from Georgian reality. That was exactly why people loved it — and exactly what now made it difficult to defend. But listening to the community revealed the opposite: people needed joy, connection, imagination, and hope more than ever. The festival didn’t have to escape reality. It could push back against it.
Strategy
Instead of becoming serious or apologising for throwing a festival, we doubled down on EZO’s truest self. We turned joy into resistance and pushed the brand’s delusional optimism until it felt bold, defiant, and almost radical. The season followed that attitude: screaming neon, oversized type, chaotic layouts, messy cutouts, self-ironic copy, and a loud, feral visual world that refused to behave.
Results
It became the strongest season in EZO’s 10-year history.Ticket sales grew 25% year over year, while “joy as resistance” gave the brand a sharper position and strengthened its bond with the community.
Georgia’s biggest electronic music and arts festival was facing a brutal question: how do you celebrate while the country is in political crisis? As the government pushed authoritarian laws, democracy rapidly eroded, and peaceful protesters were abused and detained, the founders struggled to justify running a festival at all — both to the audience and to themselves.
The task was to find a perspective that made continuing feel not apologetic, but necessary.
Insight
EZO had always been unapologetically joyful, almost detached from Georgian reality. That was exactly why people loved it — and exactly what now made it difficult to defend. But listening to the community revealed the opposite: people needed joy, connection, imagination, and hope more than ever. The festival didn’t have to escape reality. It could push back against it.
Strategy
Instead of becoming serious or apologising for throwing a festival, we doubled down on EZO’s truest self. We turned joy into resistance and pushed the brand’s delusional optimism until it felt bold, defiant, and almost radical. The season followed that attitude: screaming neon, oversized type, chaotic layouts, messy cutouts, self-ironic copy, and a loud, feral visual world that refused to behave.
Results
It became the strongest season in EZO’s 10-year history.Ticket sales grew 25% year over year, while “joy as resistance” gave the brand a sharper position and strengthened its bond with the community.
https://ezofestival.com/en/
Art Direction: Nutsa Togonidze; Illustration and Identity Design: Mariam Gogiashvili
DRIWO — BRANDING
Problem
Car washing in Georgia was more hassle than it should be. Self-service meant coins, mess, and doing the work yourself. Full-service meant long lines and wasted time. People either drove dirty or sacrificed hours to get the car cleaned.
Insight
Car washing felt like a bigger task than it actually was. Not because people cared that much about it, but because the experience demanded too much time, effort, and mental energy.
Strategy
Make car washing feel small. A non-event you do on the way to something more important. The brand should be part of the journey, not the destination. “Car wash on the go” became the positioning. From there, everything - name, identity, creative platform, and comms was built around one idea: keep the driver moving and make the service take up as little space in their head as possible.
Result
We built DRIWO around forward motion. The name, MOVE ON line, and logotype all pointed to movement and the road. The visual language came from car windows and the driver’s point of view, reinforcing a key product benefit: you stay in the car during the wash. The tone was easy-going and self-aware, never pretending car washing was more important than it was. The system carried across the site, social, and on-site experience, supported by a content strategy built around drivers, road culture, and UGC rather than heavy product advertising.
https://driwo.ge/en
Car washing in Georgia was more hassle than it should be. Self-service meant coins, mess, and doing the work yourself. Full-service meant long lines and wasted time. People either drove dirty or sacrificed hours to get the car cleaned.
Insight
Car washing felt like a bigger task than it actually was. Not because people cared that much about it, but because the experience demanded too much time, effort, and mental energy.
Strategy
Make car washing feel small. A non-event you do on the way to something more important. The brand should be part of the journey, not the destination. “Car wash on the go” became the positioning. From there, everything - name, identity, creative platform, and comms was built around one idea: keep the driver moving and make the service take up as little space in their head as possible.
Result
We built DRIWO around forward motion. The name, MOVE ON line, and logotype all pointed to movement and the road. The visual language came from car windows and the driver’s point of view, reinforcing a key product benefit: you stay in the car during the wash. The tone was easy-going and self-aware, never pretending car washing was more important than it was. The system carried across the site, social, and on-site experience, supported by a content strategy built around drivers, road culture, and UGC rather than heavy product advertising.
https://driwo.ge/en
Art Direction: Nutsa Togonidze; Type & Identity Design: Giorgi Khardziani
JUSTPAY — BRANDING
Small merchants in Georgia were selling on Instagram, Facebook, TikTok, and DMs — but checkout lived somewhere else. Most had no website, and traditional e-commerce tools felt too complex or expensive. Sales happened manually: price → IBAN/COD → screenshots → confirmation. Slow, messy, easy to abandon, and a lot of work for the seller.
Insight
In social commerce, content is the storefront. If any post, story, bio, DM, or QR could become a checkout, the sale could happen exactly where the customer already was — without breaking the flow.
Strategy
We focused on the people most likely to use it: micro-sellers, niche brands, and creators in fashion and beauty already selling through social and chat.So instead of looking and sounding like traditional fintech, I built the brand around their world, language, and behaviour.
Results
I led the grant pitch that secured $150,000 and enabled the launch. In its first year, the product reached 152 business customers and 1M in turnover.
Art Direction: Nutsa Togonidze; Identity Design: Ninuka Tsintsadze
STORERA — RE-BRANDING
Small and medium businesses across the CCA region wanted to sell online, but getting started felt expensive, technical and fragmented. Most platforms spoke in jargon and felt built for experts, leaving local merchants unsure where to begin.
Insight
The biggest barrier wasn’t ambition. It was confidence. Small businesses needed online selling to feel clear, manageable and possible.
Strategy
We repositioned Storera as a locally integrated, no-code e-commerce platform for small and medium businesses. We built an approachable brand around three simple actions: Create · Manage · Sell. Plain language, an encouraging local tone and a clean identity made the product easier to understand.“Unlock your online success era” shifted the focus from technology to what entrepreneurs could build with it.
Results
The rebrand gave Storera a clear position: e-commerce built around the realities of small businesses in the region.It brought the positioning, voice and identity into one consistent brand system.
https://storera.ge/en
Identity Design: Davit Msakhuradze