Black & White Spotted Blouse

Inspiration is elusive. It tickles, disappears, it’s not always clear, and when the idea becomes an item, I can’t always say exactly where it all began and what affected me the most. Various pieces of fabric, colors connecting, people in the street, the city’s architecture, and all kinds of things I collected over the years are my inspiration, and together they comprise the basis for designing the clothes. Sometimes it’s just a strong internal intuition that leads me to a certain idea.

History has a strong influence on all designers. Each year a historic time is declared to be the inspiration for fashion designers worldwide. To understand the past you should know the typical silhouette of each decade, the silhouette the clothes created for the person wearing them. Many companies and individual designers invest a lot of time and money trying to shape an distinct silhouette that will stand out and create a brand with a unique signature. The silhouette has very much changed throughout the years, and many factors have left their mark on it. Getting familiar with history allows designers to evolve out of the present and create something new.

Silhouette by periods

1900s

The Victorian period, up to 1914, a period of plenty and very strict fashion codes. Typical silhouette of an hourglass - thin waist and long and wide bottom.

1910s

The decade of the First World War, and the invention of the automobile. Women entered the work market and became more independent both economically and socially. Strict fashion codes were unbecoming of the times. French fashion designer Paul Poiret led the trend of designing a less restrictive silhouette.

1920s

The silhouette was characterized with narrow thighs, flat chest, wide shoulders and low waist - a smooth and formless silhouette; the skirts extended below the knee and above the ankle. The leading designers of this period were Coco Chanel and Jean Patou.

1930s

A time where racism peaked, and the economy collapsed and brought with it a wave of unemployment. Parisian fashion houses suffered from a dramatic fall in business and many of them offered cheaper fashion lines. The 1920s’ silhouette was replaced with a soft and feminine one, and the waist line returned to its natural place. Women started wearing short trousers in public.

1940s

The decade of the Second World War; the European textile industry was forced to take part in the war effort and was thus isolated from the rest of the world. The silhouette was very much influenced by the military. Wide and square shoulders, practical knee-high skirt length.

1950s

In the fifties Paris regained its crown as the world’s fashion capital. During the post-war years women were encouraged to be “good housewives”. The silhouette was characterized by a knee-high pencil skirt and a close-fitting tailored jacket. This period marked the beginning of young people’s culture and the consumer society.

1960s

Music, young people and their attitude towards fashion made a clear mark on the formation of the clothing silhouette of the sixties. In the early years of the decade, Jackie Kennedy was a very influential figure. ¾ sleeves, smart sets of two-part tweed suits. The silhouette was characterized by an “A” skirt of various lengths. Mini was the leading length, which the stalk-like model, Twiggy, modeled.

1970s

The ability to travel freely around the world brought external influences into the fashion world – kimonos, caftans and the jellaba entered the central fashion houses. The rise of the feminist revolution and the equal rights movement formed a silhouette of loose-fitting clothes. The waist line was made unclear and the common pants were bell-bottoms, pattes d'éléphant. Platform shoes were also typical of the period.

1980s

Aerobics and physical fitness presented a new body figure. Leggings and branded sport suits were very popular. The silhouette was mainly characterized by wide military-style cushioned shoulders, colorful oversized jewelry, wide belts and narrow skirts ending above the knees.

1990s

Minimalism, less is more, the internet makes fashion global and less tyrannical. The individual is free to express him or herself, and it is easier to imitate the big fashion houses. It is difficult to characterize this period, but two part pant suits were very common. Narrow shoulders and slim shaded pants with a simple blouse and minimal accessories.

I find the silhouette of the 2000s to be enigmatic. It is so chaotically affected by the past, that it cannot be defined yet. The past influences my work, but I can’t say I have one definitive favorite silhouette. I love knee high straight lined skirts, tailored loose-fitting outfits, gently touching and fluttering the natural body’s silhouette. I love gently stressed waists. But I do not commit myself to any one shape, my taste is ever changing and developing; in each silhouette I love one element or feature, and together these interlace and create a fusion which I cannot define.

In this post’s photos, I am wearing a ‘Spotted’ black and white blouse and a straight grey and black ‘Boucle’ skirt.

Model Blouse: B&W Spotted
Model Skirt: Boucle

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Kinley Dress

I put in a lot of time in producing the photographs for the blog. After the model is ready, and I decide to produce it, I start thinking about a concept for the photography. The questions that arise are: what is the desirable atmosphere, what are the right colors and location to be used as a background for the outfits. I choose the proper styling and look for the accessories that will perfect the look. In the first few posts I used purses, shoes and jewelry from my own personal collection. After feeling that I have made the most of my collection, I contacted a few talented Israeli designers and we started cooperating.

This Crepe De Chin long sleeved dress is very light and very fitting for the Israeli autumn and winter seasons. In the colder days you can simply add a jacket and you’re all set, you are both warm and have winning chic. The dress has a straight shape, gently touching the body, and a “V” neckline. The orange lining is sewed compatibly with the fabric stripes, and when the body is in motion you can see the lining peeking from the neckline for a careful and elegant look.

The ‘Kinley’ dress is suitable for a day at work, but can also be worn as evening wear.

Model Dress: Kinley

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Boucle Skirt & Violet Blouse

My inspiration for the clothes I design is a strong dominant woman; a powerful and knowledgeable woman that doesn’t fear the combination of strength and femininity. Her look is feminine and precise; she is a woman looking for convenience and chic. I define the style as a “tailored urban casual style”. Eggplant violet is a rich, sensual, noble color. In the Roman Empire days, violet clothing was preserved for the upper class. I used two shades of violet in this blouse for emphasis and interest. The dominant shade is dark eggplant violet. The light violet shade is in the sleeve cuffs, the collar and the hidden buttoning. The fabrics are batiste cotton, soft and of high quality.

The ‘Boucle’ skirt design has a straight shape with two front pockets. To highlight the pockets I added a thin tattered stripe from the fabric’s end, creating a thread texture. Boucle is a type of tweed, a woolen cloth of various mixtures, but a very ‘extreme’ one, made from wool thread woven in rounded loops, creating a rich texture.

Model Blouse: Violet

Model Skirt: Boucle

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Ocher Blouse & Grey Fold Skirt

As a fashion designer, I usually start with an idea and the design and afterward choose the type of fabric. But sometimes the process is inverted – a fascinating fabric provides me with inspiration for an item. If I decide on a certain shape of skirt, I make it in a certain color and then match it with a blouse with a contrasting or complementary color. The skirt in this post is mouse grey, and I matched it with an ocher blouse. Ocher is a dark golden yellow, and it is one of the earliest pigments used by man.

I love this color combination, bringing together the immortality and coolness of the mouse grey with the trendiness and warmth of the ocher. After preparing the clothes I looked for a location for the photography, one that will stress the colorfulness of the outfit. Finally I decided to shoot the outfit in my living room, which I also use as a studio for selling the clothes I design. The outfit’s colors perfectly match the colors of the floor, the wall and the rest of the elements in my house. The photos were taken without any special lighting, the colorfulness of the outfit and the background did all the work.

 Model Blouse: Ocher

Model Skirt: Grey Fold

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Blue Fold Skirt & Spotted Blouse

Manufacturing clothes is a long complex process, and skilled professionals are not always easy to find. My dependency on professionals and suppliers sometimes dictates my work pace and makes the process difficult. My work team allows me to realize my design aspirations and provide you, my clients, with a meticulously made product that I can present and be proud of. The manufacturing process is completely homey, and I don’t apply any fast and cheap working formulas.

The right fabric, the perfect shape, measures and proportions, the quality sewing and the attention to each and every small detail, comprise the clothes I design, and I cannot compromise any one of them.

I have completed the manufacturing of summer models and in this post I present to you the first swallow for this coming fall. This skirt, called ‘Fold’, begins just a tad under the waist and extends down to the knees. The skirt’s shape is classical with three front folds in equal intervals that give it its perfect chic. The fabric is made of creased silk, and has a rich texture.

The blouse is called ‘Spotted Blouse', and is made of a soft and gentle cotton fabric, with a retro print. When I first unfurled the fabric, I noticed a slightly different pattern near the edges. I decided to use this element in different parts of the blouse for emphasis. I designed the blouse so that the collar, the buttoning and the sleeve cuffs will have this special pattern. I planned a partial buttoning in the blouse, reaching down just under the chest. I placed three buttons, left a small gap, and then placed three more buttons. The blouse has a Chinese collar, and if you leave the three top buttons open, an interesting V neckline is created. The sleeve cuffs also have three buttons, one for buttoning the sleeve and two extra buttons for ornamentation.  

Model Blouse: Spotted 

Skirt Model: Blue Fold

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B&W Polka Dot Dress

Each model I design undergoes my strict examination. After drawing many sketches, looking for fabric and finding the right one, I prepare a model in my own measures, wear it for a while and carefully consider whether to manufacture the item in various sizes or give it up and shelve the idea.

The green ‘Polka Dot’ design that I presented here about a month ago went through many phases, but after having decided to manufacture it and post it in the blog, the success was grand. Out of six dresses I made, only two were left.

I decided to make the same model from another fabric. It’s the end of summer and the holidays are near, so I chose a white fabric with small black polka dots. For the belt and the sleeve cuffs I matched a ‘negative’ fabric – black with white polka dots. I never compromise comfort, so the fabric is mostly cotton with a small amount of Lycra, and so the dress caresses the body but is not tight-fitting. And of course, the small details – in the back of the dress I chose to place black mushroom shaped leg buttons.

 Model Dress: B&W Polka Dot

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Grey Pleat Skirt & Blue Mingling

I don’t like to embalm myself in a tight ‘skinny’, and in the summer I only rarely wear anything except for airy skirts and dresses. When I decide what to wear, it usually depends on my mood. Dark, light, colorful or monochrome, I make up my mind according to how I feel before going out. A beautiful flattering outfit lifts up the mood, and it’s important to match the item to your body structure and not give in to passing trends that often suit only few. Spreading trends is mostly meant to serve various marketing bodies, and a woman should learn how to filter the information load coming from seductive magazines.

In this post I present another version of the ‘Mingling’ blouse and the ‘Pleat’ skirt. The basic design is the same, but the new colors and texture in the blouse create a completely different look.

I looked for a fabric that fitted a nice casual summer blouse. I found a cotton fabric with a gentle flower pattern and small salient white dots. A deep blue hidden buttoning and a sleeve cuff of the same color give the blouse its sporty look. I added thin piping tapes in the front part of the blouse just under the shoulder, and in the back of the blouse. These elements create a sporty and chicky look.

For the Pleat skirt I chose this time deep grey chiffon, a neutral color that will go with any blouse. Actually, dark grey is my black. I added a thin white belt and white sandals. In the previous post I mentioned that you can order a skirt in any color out of the variety in my catalogue. So here’s a photo of a part of the catalogue, just to give you a general impression.

Model Skirt: Pleat 
Model Blouse: Mingling

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Mix Dress

I create and manufacture in Tel -Aviv and almost everything is a walk away from home. The fabrics, the haberdashery in 'Nachalat Binyamin' and all the professionals… everything is so close. When I get my pictures taken around the city, I feel comfortably at home.

The ‘Mix’ model is based on the first model that appeared in the blog – ‘Café Café’. I wanted to combine two opposites: Negative-Positive, Top-Bottom.

In the past few months I learned an important lesson – if you don’t try you’ll never know. I can draw sketches, imagine and fantasize, but only after buying the fabric and creating a model I know if I have succeeded. Only this way I can see if the fabric really suits the model. I wear the item a few times and inspect it from every possible angle, how it ‘sits’ on the body and whether it is flattering. I found two fabrics that are a perfect negative of one another; I was ratified. When I enter a fabric store I’m like a little girl in a candy shop, everything seems so new and exciting. I chose a soft summery cotton fabric, with a gentle slightly-retro pattern.

I decide to take the photographs in 'Neve Tzedek', one of the most charming places in Tel Aviv. On the day of shooting I looked for colorful spots and for places that give the feeling of a neighborhood. I love contrasts – old and new, bare and hidden. It’s fun to tour the city on foot and discover it anew each time.

Model Dress: Mix

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