Modes of Creation: Jewelry and Fashion, April 2010
Yasmin Wollek: "No title" Photographer: Moran Yehuda
The main creative fields discussed in the current issue, are Jewelry and fashion. Both may be regarded as being subjected to a major influence of the industrial revolution since its early stages. These two vocations were artificially separated by the growing market economy due to the significant difference in production techniques, despite of their similar cultural and practical purposes. But recently, in light of immense cultural and technological developments, including design for the human body and its immediate surroundings, it seems difficult to discuss the practical and theoretical aspects of these fields separately. In this issue, we shall examine the contemporary and historical facets of practical design processes, which relate to the creative field tangent to the human body. This unique issue will discuss in depth this ‘experimental sphere’ created by processes in these intimate fields: of jewelry and fashion design. A discussion led by tutors and the creative processes described by the designers/artists participating in this issue. All these topics were discussed at the conference "Modes of Creation: Jewelry and fashion from here". The conference was a cooperation between the department of History and Theory and the department of Jewelry and Fashion, held at Bezalel in April 2009, and was the basis of this issue, through the viewpoints of its creative contributor-artists, we will try to provide a 'peephole' into various working and thinking techniques, materials and tools.
In the article section of the English edition we focused on the creative and exhibition processes of jewelry and fashion, such as “Reflexive Fashion" by Galya Rosenfeld that deals with critical creative processes towards the field itself. My article deals with the historical aspect of the conflict between concepts of 'handicraft' and 'industry' in metalwork. Yael Taragan* discusses the perception of materials and technology and their influence on design and teaching through the basic cuts, Dr. Reuven Zahavi* deals with the concept of regret and correcting mistakes during the design process, Daniel Belasco addresses different thinking modes and improvisation in design, and Dr. Michal Popowski* addresses in her article the logic of the syntax of fashion of late post modernism.
The “In context” section Includes Avsh Alom Goor, describing his tactile textile process in his studio– relating to tradition while adding a personal touch. In the 'Virtual Exhibitions' section we showcase diverse glances of the creative process. Portraying the activity of designer/artists, who generously opened their studios for review, so we could observe their fascinating works. These demonstrate an integration of material, environmental and cultural influences and personal critiques in their portfolios: Lisa Walker on her diverse cultural and material sources, Tali Tamir writing about Prof. Vered Kaminskis' research and critical examination of cultural and technical practices, Claudette Zorea focusing on the concept of covering and revealing in fashion, and the 'Metalwork Collective' – Edda Vardimon-Gudnason, Vered Babai, Einat Primo and Kobi Roth – on their thoughts and views concerning their mutual work process.
* These articles were submitted in Hebrew, please switch to the Hebrew section of this issue.