Tamar
Areshidze

Modern Ritual Objects

Collection I

Levitating

A shoe that should not stand — and yet it does. The body rests on a single metal rod, suspended between the sole and the earth. Each structure is engineered and built by hand by the designer's father. The impossible made physical.

Levitating rhinestone sandals
Black crocodile levitating boots
Brown crocodile levitating sandal

Let everything happen to you.
Beauty and terror.
Just keep going.
No feeling is final.

Rainer Maria Rilke

Collection II

Blossfeldt

Inspired by Karl Blossfeldt's photographs of plants as architecture — nature stripped of sentimentality, revealed as structure, force, and form. The heel is a fluted brass column crowned with a jeweled bud. Wood, gold, and stone where a stiletto would be.

Suede mule with Blossfeldt heel
Blossfeldt heel detail — fluted wood and jeweled bud
Suede ankle boot with Blossfeldt heel
The Designer

Footwear as ritual.
Standing as an act of power.

Tamar Areshidze is a Georgian footwear designer whose work lives at the intersection of sculpture, craft, and high fashion. Her shoes are conceived as modern ritual objects — heavy enough to ground you, elevated enough to transform the way you stand in the world.

The levitating shoe was born in 2011, went viral, and led to an ITS 2012 accessories finalist placement. Barbara Franchini, ITS director, called her work a "footwear phenomenon." In 2014, two designs were exhibited at the Brooklyn Museum's Killer Heels — placed next to Ferragamo.

After a decade away, Tamar relaunched in 2026 at MICAM Milano with two design languages: the Levitating system and the Blossfeldt heel. Every levitating structure is engineered and built by hand by her father — a collaboration between generations, between precision and poetry.

Tamar Areshidze booth at MICAM Milano 2026
The World

If you bring forth what is within you,
what you bring forth will save you.
If you do not bring forth what is within you,
what you do not bring forth will destroy you.

She is a stone god, carved from rock and worshipped. She stands with her back to the ocean and cannot turn around. She knows everything about it — the smell, the sound, that it is infinite — but she has never seen it.

One day she says: to hell with all this stone.
She throws herself in headfirst
and learns the one thing she did not know —
that it is wet.

And the ocean of sensation floods her
and she cannot contain it,
so she dances.

And then she stops. Because everything beautiful has an ending —
or perhaps it is the ending that makes everything beautiful.

Tamar Areshidze, 2011

Inquiries

For press, stockists,
and collaborations

Tbilisi, Georgia — Available Worldwide

[email protected]
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