Fashion Designers

Hallel. Carmel. Bezalel

The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddush Cups
of the Bezalel School

These two exhibitions: "Halel. Carmel Winery" and
"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel
School" focus on two pioneering phenomenon. Both of them,
each one in its own specific field, established a material
and cultural infrastructure for the renewal of the Jewish
settlement in Eretz Israel. The two integrated exhibitions
presented here show the primary aspects where these two
enterprises overlap. The principal point here is the fact that
their produce, wine in Rishon Le‑Zion and art in Bezalel,
symbolized the regenerated Jewish settlement. Moreover,
most of their products were purchased by Jews in the
Diaspora as an emotional gesture of love for Eretz Israel
together with a contribution for the realization of the idea
for its settlement.
The "Halel. Carmel Winery" exhibition tells the story of
the winery from its historical perspective. The winery
symbolized the realization of the dream of settling
Eretz Israel. Thus, it became a source of pride and a center
of attraction for the leaders of the people and the world
who pinned their hopes on it and visited the winery. The
historical exhibition aims to show how innovative the
Rishon Le-Zion winery was during its early years as it was
recognized as the prominent modern agricultural-industrial
plant in the Middle Eastern region. The winery played a key
role in the economic life of Rishon Le-Zion and the Jewish
settlements in the surrounding area. The exhibition displays
its development, achievements, challenges, transitions,
connections with the Diaspora and how it influenced
Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition
focuses mainly on the first few decades of the winery's
existence which were also the most momentous years in
its history, during which a modern industrial model was
developed leading to a breakthrough in the country.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.

Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy


הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל

שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.

אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי

Küreselleşmenin sonucunda kültür endüstrileri ülke ekonomilerinde hayati bir önem taşımaya başlamıştır. Aynı zamanda, bu endüstriler yerel kalkınmanın önemli bir parçasını meydana getirmektedirler. Moda ve tekstil sektörü de bu bağlamda önem kazanan sektörlerden biridir. 1980’lerde Türkiye’nin dış ticarete açılmasıyla ülkemizde de moda ve tekstil sektöründe marka yaratma çabaları önem kazanmıştır. Moda tasarımı eğitimi veren yükseköğretim kurumlarının sayısı giderek artmıştır. Buna karşın, moda tasarımı eğitimine yönelik bir eğitim politikasının geliştirilmemiş olması dikkat çekmektedir. Bu çalışmanın amacı yeni mezun moda tasarımcılarının moda tasarımcısı kimliğini inşa ederken ortaya çıkan temaların incelenmesidir. 2008 ve 2011 yılları arasında Anadolu Üniversitesi Moda Tasarımı Bölümü’nden mezun olan 6 moda tasarımcısı çalışmanın katılımcılarını oluşturmaktadır. Katılımcılarla yarı yapılandırılmış görüşmeler yapılmış, bütün görüşmeler kaydedilmiş ve yazıya dökülmüştür. Yazıya dökülen görüşme metinleri söylem analizi aracılığıyla incelenmiştir. Yapılan analiz sonucunda “üniversite”, “eğitim/öğretim”, “iş deneyimleri” olmak üzere üç ana tema belirlenmiştir.

Anahtar sözcükler: Moda tasarımı eğitimi, yeni mezun moda tasarımcıları, söylem analizi

Culture industries have a vital role in the economic development of countries as a consequence of globalization. Likewise, these industries have a significant place in the social, economic and cultural development of cities. Within this context, the sector of fashion and textile design is one of the cultural industries to come into prominence. In Turkey, creating authentic brands became an important issue in the 1980’s when the country entered the international marketplace in textiles and clothing. In consequence, the number of higher education institutions teaching fashion design has increased. However, the lack of education policies in fashion design education needs to be considered. The aim of this study was to examine the themes that appeared during the construction of the fashion designer identity of newly graduated fashion designers. The participants in this study were six fashion designers who graduated from the Fashion Design Department of Anadolu University between 2008 and 2011. Semi-structured interviews made with the participants, all the interviews were recorded and transcribed and the transcribed interview texts were analysed with discourse analysis. “University”, “education”, and “work experiences” identify the three main themes of this analysis.

Keywords: Fashion design education, newly graduated fashion designers, discourse analysis

Настоящата статия представя търсенето и намирането на съдържание в комуникациите на бранда Alexander Mcqueen, чрез специални събития-изложбата Savage Beauty. Специалните събития като една от най-ефективните комуникационни техники, залага предимно създаването на уникално съдържание, представено в уникален за публиката момент от време с ясна и конкретна цел да създаде когнитивни процеси, които да предизвикат търсеното емоционално състояние. Обекта разглеждан в тази статия: изложбата Savage Beauty, акцентира върху една логична последователност от жизнения, творчески и социален живот на твореца Алекзандър Макуин и създава няколко прецедента в представянето на бранд. Ключови думи: Алекзандър Маккуин, бранд, комуникация, мода, специални събития, съдържание Творецът Алекзандър Макуин-наричан скандален, провокативен, нестандартен, носещ прозвището "Лошото момче на британската мода", не прави колекции от дрехи, а дрехи с послания, не прави модни ревюта, а шоу-спектакли. Интересното при този творец, че всяка една колекция е представена в контекста на социална и политическа проблематика. Това не са само дрехи, не е само мода, това е форма на съдържание, чрез което да изкрещи на света за всички онези проблеми, които го вълнуват. Британските и световните медии отразяват всеки спектакъл, интервюта, публичност, всичко това, за да каже на все повече хора за нещата, които вижда, тези които харесва и тези, които не одобрява. Алекзандър Макуин казва за себе си "Аз съм романтичен шизофреник". Слага край на живота си през 2010 г., като преди това заявява, че преди да умре ще унищожи бранда Alexander Mcqueen, ще изгори ателиетата и всяка следа, която може да остане след него, но не го прави. Алекзандър Макуин е мъртъв! Да живее Alexander Mcqueen!

Today, in the fashion sector, which can be regarded as the driving force behind Turkish exports, the need for designs and designers is increasing day by day in parallel with the developments in domestic and foreign markets. The process of production in the fashion sector can be divided into four groups, namely design, planning, production and marketing. The fundamental properties of the product are determined in the design department, which constitutes the basis of the production process. In this study, the purpose was to investigate how effects having or not having technical knowledge related to the garment production process on fashion designers' designs. This study, in which qualitative research methods were used, was conducted using the case study design. For the sample group, criterion sampling, one of the purposeful sampling methods, was used and four designer were selected as the sample group. Research data were collected through interview, observation and document review. The data that were collected were evaluated through description and comparative analysis and then made into a report. After evaluation of research findings it has been reached that designers with technical knowledge on garment production process scored higher points on their illustrations. In terms of sub dimensions, in evaluations related to creativity dimensions, designers with technical knowledge, even with a slight difference, scored higher. When design is studied in terms of commercial value which is the other sub dimension, again, points of designers with technical knowledge fount higher.