Language:
English
Pages:
32, 112 Seiten
,
Illustrationen
Year of publication:
2003
Keywords:
Textilien
;
Kleidung
;
Ausstellung
Abstract:
What do Desert Embroidery, Lifeline for the Old, Almaz, Lakiya, and Mini Gifts have in common? They are all cottage industries created and run by women that employ immigrants to create ethnic products based on crafts learned in their native lands. In fact, Ruth Dayan can be credited with creating cottage industry of ethnic works in Israel. In the early 1950s, Dayan's job was to place agricultural counselors in the newly-settled moshavim [agriculture-based communities] in order to train the new immigrants from countries includingYemen, Iraq, Morocco and Iran. Such training would enable the newcomers to make a living off the land. Early on, Dayan saw an opportunity that was about to be missed: these immigrants had brought with them little else but the traditions of craft and handiwork from their native countries. She persuaded the authorities to support her vision of nurturing cottage industry in order to create ethnic products by newcomers. On Moshav Avdon, for example, immigrants from the Azerbaijan region in Iran designed strong-colored rugs in floral motifs. These same designs were transformed into more modern designs by painter Jean David. In 1954 the Dept. of Vocational Training at the Ministry of Labor established a company aimed at encouraging home industries, coordinating and distributing raw materials required for such industries, and marketing the products in Israel and abroad. The first products were implemented at Kfar Uriah, where intricate embroidery was sewn into collars and cuffs. WIZO was the marketing arm of the project which was originally called Eshet Chayil [Woman of Valor]. Dayan understood that in order to succeed, the products would need to meet modern-day design standards and fashions. Among the designers who turned the homespun items into fashionable, well-designed and saleable products were Fini Leitersdorf, Siona Shimshi, Tamara Yovel-Jones, Shula Litan and Oded Burla. Guiding principles behind the products were excellent design, natural materials, and limited editions. This was an excellent opportunity, and often a first step, for young Israeli designers to showcase their work. The government of Israel originally financed and supported Maskit in order to meet the dual goals of assisting those who had no other skills than their native land crafts, and create an original Israeli style. Now defunct, Maskit was eventually bought by private investors.
URL:
http://www.thesourceisrael.com/issue39/article.shtml?tour
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