A special post written by: Yehuda Kassif
Part I
If, in the past, we have discussed "correct jewelry" then why not now discuss "swinish design" son of "swinish individualism" and grandchild of "swinish capitalism"?
Introduction
Two or three days ago I was invited to attend the Bezalel Academy for Arts' presentation day. The day, held in cooperation with the History and Theory Department and the Design and Crafts Department, was defined by its organizers as such:
"A progressive and unique conference, dedicated to up and coming methods of production and design in crafts, fashion and other relevant arenas, in terms of micro and macro, as seen through the eyes of reflective artists and through the perception of relevant theories pertaining to time and space." A wide and verbal definition, typical of our surroundings…
Lecturers included instructors from Bezalel , Shenkar College and various artists who have been successful in Israel and abroad. The guest of honor was Lisa Walker of New Zealand, who currently works in Munich, Germany and was termed by the hosts as "one of the most prominent and well-known crafters in the world and a forerunner in terms of her unique views". The conference was filled with an immense amount of content, thus the lecturers were limited to no more than twenty minutes per lecture.
This was especially disruptive to the lecturers who, because of the time limit, were interrupted and whose content and meaning were disrupted, like in the case of Dr. Shoshana-Roz Marzel's lecture (of Bar-Ilan and the Hebrew Universities' History and Theory Department). Her lecture focused on the creation of Israeli fashion from a historical perspective. I was sorry I was unable to hear the honorable lecturer's detailed and varied survey. The idea of starting the presentation day of an academic institute with a general survey of historical facts is a correct and worthy idea and should be given a proper platform. It is possible, merely possible, that there could be meaning in studying past events before we go into the oh -so fashionable introversive rummaging, the "me, here and now." At times I had the feeling of a grandfather trying to teach his grandchildren about past military events…
Dr. Shoshana-Roz Marzel focused her lecture on the initial days of the first immigration, stating that ever since that time the Israeli fashion world has looked abroad for the latest fashion statements. So it was in 1882 with the Russian immigrants, and so it is today. She claimed that back in those days the fashion capitols of Europe were the height of enthusiasm for Jewish citizens (and probably for the Arabic elite as well). Dr. Marzel states that in modern-day Israel the creations of fashion designers such as Carol Langford, Calvin Klein, Bellman, the late Versace or Donna Karen, are still considered influential for the Israeli fashion industry. Dr, Marzel attempted to explain the place furs, wide-brimmed hats, and white gloves hold in Israel and the mentality of "acre after acre, clod after clod", national dress and other fascinating topics but she ran out of time.
From my place in the audience I had come to a wider conclusion. The subject of clothing was then an important and integral element in the political and social statement the wearer was trying to make. Precisely because of the time's social fissures and whirlwind of ideas it became important to utilize every aspect of life in order to make a social and political statement. It appears that this trend has not changed in its essence. The belt-height on pants, the cut of the sleeve and the dress's cleavage haven't changed much, in that they still denote charged political statements, fascinating cultures, and convey multi-layered and multi-faceted stories (who knows what West Bank settlers wore and how girls from the Gush Katif area identified themselves).
However, I was sorry to note that the ongoing tendency to look for the light beyond the horizon has left us with little uniqueness of our own.
The idea to investigate the wardrobes worn by dance groups in Kibutz Bikurim performances, or clothing styles depicted in songs, tunes or local literature ("I would write to him, I would sew\a light blue nightgown with a golden flower", Jacob Orland's song, "There were nights" or "you will wear the purple dress/ and both your eyes are illuminated in a dark light", in Haim Hefer's song "the purple dress", the ponytail and jumper, the market song, etc.), were suggested to the lecturer as "cool ideas," unprecedented concepts to date.
Dorit Frankfurt, a designer, manufacturer of fashion attire and the owner of a chain of stores, told the audience about her business roadmap, and who, according to her, championed the unpopular cause of "designing and manufacturing in Tel Aviv", was refreshing and even touching. Refreshing due to the fact that her message was built on unsubstantiated and unrealistic artistic ideas, and because of her uncompromising attitude summarized by the saying: "Not everything has to be made in China."
Dorit Frankfurt appealed to me with her simple down-to-earth statement, which is in sync with the day-to-day reality and to present times.
"My clothing industry," Dorit states, "is an industry which does not pollute the environment. It is generated by the Tel Aviv spirit and returns to it time and again. I insisted on proving that an industry could be built in Tel Aviv." In a time when banks' foundations shake, factories fire workers within the blink of an eye, and tycoons lament their billion dollar losses, shedding alligator tears while sitting at decorated tables in up-scale restaurants, it was refreshing to hear Dorit say "I am very attached to my workers, I've known them for many years. I treat them with the same respect that they treat me."
The second part is to be continued next week.