fashion

Fashion with a long history

“Consecration of Aaron and His Sons,” an illustration from the 1890 Holman Bible, 1890. Aaron’s high priest attire is elaborately described in the Hebrew Bible. (photo from Wikipedia)

Fashion in the Bible? What does that mean? The biblical text actually offers us an idea of what people wore in those times – and even why.

For the majority of us, the most familiar example of biblical fashion is found in Genesis 37:3 in the description of young Joseph’s problematic coat of many colours. This coat, which was gifted by Joseph’s father Jacob, served to anger and increase the jealousy Joseph’s brothers towards him. Consequently, they throw him in a pit to be left to his fate: to die of thirst, to be killed by a wild animal or to be picked up by traveling merchants.

From a chronological point of view, however, the first real example of Old Testament fashion comes at the very beginning of Genesis. In this instance, G-d has decided to exile Adam and Eve from the Garden of Eden. As we all know, G-d was angered by Adam and Eve’s disobedience in eating from the Tree of Knowledge. While He is upset with them, He obviously still cares enough to provide them with warm coverings, more than the fig leaves they chose for themselves: “the Lord G-d made garments of skin for Adam and his wife and clothed them.” (Genesis 3:21)

Moving on in the Book of Genesis, we read that, when Abraham’s servant Eliezer escorts Rebecca (who will become the second Matriarch) back from Aram-Naharaim, she sees Isaac (who will become the second Patriarch) for the first time. She asks Eliezer about Isaac’s identity. After he tells her, she modestly conceals her face: “‘It is my master.’ And she took her veil, and covered herself.” (Genesis 24:65)

Veils are used for a different purpose in the story of the widow Tamar and her widowed father-in-law Judah. In this story, Judah does not fulfil his promise to make his youngest son her husband in accord with the practice of levirate marriage. (Judah thinks that Tamar has basically brought about the death of his first two sons when, in fact, it was G-d’s doing.) Judah also subjects Tamar to widowhood when she should have been free to remarry.

In response, Tamar takes drastic action. She hides her true identity behind a veil. She sits at the side of the road, where, presumably, she could be taken for a harlot or public woman: she “put off … the garments of her widowhood and covered herself with her veil and wrapped herself.” (Genesis 38:14) Without Judah being any the wiser, she allows him to have intercourse with her and, when a pregnant Tamar presents Judah with his staff and seal, he realizes what he has done and acknowledges his wrongdoing. The Bible tells us that she secures her place in the family by having twin sons from this union. The biblical reader doesn’t know more about Tamar, but one knows that Perez, one of her twins, will provide the lineage for King David.

One might think that, after hundreds of years of slavery, the Hebrews would want no reminders of their life in Egypt. But, according to the biblical text, the Hebrews took clothes from the Egyptians: “And the children of Israel did according to the word of Moses; and they borrowed from the Egyptians … clothing.” (Exodus 12:35) Significantly, before the Hebrews hear G-d declare the 10 Commandments, Moses instructs them to prepare themselves by laundering their clothes: “And Moses went down from the mount unto the people and sanctified the people; and they washed their garments.”(Exodus 19:14)

According to Rabbi Simeon – a scholar who was active between 135 CE and 170 CE – at the time of the Exodus from Egypt, the Hebrew weavers did not take their looms. Yet the Hebrews’ clothes never wore out in the 40 years of desert wandering. In Deuteronomy 8:4, it states: “Thy raiment waxed not old upon thee.”

We read that, in keeping with her status as part of the royal family, King David’s daughter Tamar (like Joseph before her) wore a vibrant robe: she “had a garment of many colours upon her; for with such robes were the king’s daughters that were virgins appareled.” (2 Samuel, 13:18) Not befitting royalty, King David’s firstborn son Amnon rapes Tamar, his half-sister, then throws her out.

Both violated and rejected, Tamar tears her robe, going into mourning: “And Tamar put ashes on her head and rent her garment of many colours that was on her; and she laid her hand on her head and went her way, crying aloud as she went.” (2 Samuel, 13:19) Absalom, her full brother, has her stay in his household for the rest of her life. Two years later, Absalom takes revenge by having Amnon killed.

When Queen Esther had to talk with her husband, King Ahasuerus, she put on her royal apparel (Scroll of Esther 5:1). Had Esther been made wary by the fate of her predecessor, Queen Vashti? As we recall, King Ahasuerus ordered Queen Vashti to appear “wearing her royal crown.” (Scroll of Esther 1:11) One rabbinical tradition interprets this to mean that the king’s instructions were to wear only her royal crown; in other words, to appear naked (Babylonian Talmud, Megillah 12b). According to that tradition, Queen Vashti refused because she did not want to be put on display before a bunch of guys who had been drinking for a week straight. Vashti’s refusal apparently resulted in her banishment. Admittedly, she paid a heavy price, but it would appear as if both these queens admirably set the terms for how they would respond to their husband.

Of all the given examples, the most elaborate description is given to the clothes Aaron (Moses’s brother) wore as the high priest. The description is more or less repeated in a few places, but here is the narrative of Moses dressing Aaron: “And he put upon him the tunic, and girded him with the girdle, and clothed him with the robe, and put the ephod upon him, and he girded him with the skilfully woven band of the ephod, and bound it unto him therewith. And he placed the breastplate upon him…. And he set the mitre upon his head; and upon the mitre, in front, did he set the golden plate, the holy crown.” (Leviticus 8:7-9) The clothing, like the text itself, is meant to impress.

The Hebrew Bible has been around a long time; in its present form, most likely since the second century CE. The clothing it describes may truly be termed sustainable fashion.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

CHW’s Fashion Blooms

As part of Fashion Blooms on March 31, Canadian journalist, media personality and fashion entrepreneur Jeanne Beker, left, will interview Israel’s Sharon Tal, head designer of Maskit. (photos from CHW)

Canadian Hadassah-WIZO (CHW) presents the second annual Fashion Blooms on March 31. The national virtual fundraising event – highlighting innovation, sustainability and the future of Israeli fashion – will feature Canadian journalist, media personality and fashion entrepreneur Jeanne Beker interviewing Sharon Tal, head designer of Maskit.

Israel fashion house Maskit was conceived in 1954 by then-designer Ruth Dayan, as a contemporary luxury clothing brand. Known for its intricate ethnic embroidery, Maskit was revolutionary in advancing economic opportunities and bridging cultural divides by employing thousands of Jewish, Arab and Bedouin women artisans. Since Tal took over the helm in 2014, she and Maskit have launched collections that are shown internationally and adored by celebrities. One of Tal’s latest designs, a peacock-embroidered caftan, was created in close collaboration with Sarah Jessica Parker and featured in the first episode of And Just Like That, the HBO revival of Sex and the City. Tal continues to honour and innovate, revitalizing a brand while earning plaudits for Maskit’s designs.

“As the former head of embroidery at Alexander McQueen and intern under Alber Elbaz at Lanvin, Sharon’s appreciation for tradition is matched only by her diligence and willingness to reinvent,” said Beker, event emcee. “She has what it takes to build upon the Maskit dynasty while also creating a legacy of her own.”

Fashion Blooms is also the Canadian debut of two trailblazing female fashion designers based out of Tel Aviv: Maya Reik Belfer, founder and designer of Marei1998, a luxury brand focused on sustainability and eco-conscious materials; and Danit Peleg, founder and creative director of Danit Peleg, known for its disruptive and innovative approach that is revolutionizing the fashion industry through open-source designs and 3D printed technologies.

Restrictions permitting, CHW centres across the country will host VIP invitation-only in-person viewing parties for Fashion Blooms. The virtual event will include an exclusive online auction, featuring fashion accessories and luxury brands, and an online vendor marketplace for a virtual shopping experience.

To register, participants can visit chw.ca/fashion-blooms. Tickets start at $40. Fashion Blooms proceeds support the CHW Neri Bloomfield Academy of Design in Haifa, Israel, supporting student scholarships and ultramodern equipment to enhance the future of the Israeli fashion industry.

The CHW Neri Bloomfield Academy of Design awards academic degrees in a wide variety of creative fields, including graphic design, architecture and fashion. This institution is building academic excellence and becoming an influencer and innovator in the world of design. It nurtures individual creativity among its pluralistic student body while instilling a sense of community and coexistence.

For more information, contact Rebecca Bowslaugh, CHW director of marketing and communications, at [email protected] or 416-477-5964, ext. 111.

CHW is a non-political, nonpartisan national network of volunteers and professionals who believe that the advancement of education, healthcare and social services transcends politics, religion and national boundaries. Over the last century, CHW has been involved in all aspects of Israeli life, supporting women, children and families in Israel and here in Canada. Learn more about CHW at chw.ca.

– Courtesy Canadian Hadassah-WIZO

Inspiring achievers honoured

Dr. Paige Axelrood and Ivan Sayers were among the 25 British Columbians honoured with a 2020 BC Achievement Community Award. (photos from BC Achievement Foundation)

On April 27, Premier John Horgan and Anne Giardini, chair of the BC Achievement Foundation, named this year’s recipients of the BC Achievement Community Award. Among those honoured were Jewish community members Dr. Paige Axelrood and Ivan Sayers. “These days more than ever, our communities are made stronger by British Columbians who go above and beyond,” said Horgan. “Thanks go to all of the BC Achievement 2020 Community Award recipients for helping build a better province for everyone.”

“It is an honour to celebrate the excellence and dedication of these 25 outstanding British Columbians,” added Giardini. “On behalf of all of us at the BC Achievement Foundation, I thank each of them for strengthening their communities and inspiring others to community action.”

As the founder of the Scientist in Residence Program, Axelrood developed and built an educational program to support teachers and help students discover their inner scientist. Elementary students across the Vancouver School District have experienced real science and discovered the natural world through the Scientist in Residence Program. Axelrood’s vision to partner teachers with scientists to facilitate hands-on, inquiry-based lessons has helped change the delivery of science education.

Sayers is the honorary curator of the BC Society for Museum of Original Costume and curator emeritus, Museum of Vancouver. Specializing in the study of women’s, men’s and children’s fashions from 1700 to the present, Sayers has produced historical fashion shows and museum exhibitions all over western North America. A lecturer and mentor, his fashion shows have supported countless nonprofits over the years.

The BC Achievement Foundation is an independent foundation established in 2003, whose mission is to honour excellence and inspire achievement. This year’s selection committee members were Mayor Lee Brain of Prince Rupert, Mayor Michelle Staples of Duncan, and past recipients Lolly Bennett, Aart Schuurman Hess and Andy Yu.

The recipients of the 2020 Community Award will be recognized in a formal presentation ceremony in Victoria, in the presence of Janet Austin, lieutenant governor of British Columbia. Each recipient receives a certificate and a medallion designed by BC artist Robert Davidson. For more information on the award and its recipients, past and present, visit bcachievement.com.

Take time to see Maskit

Maskit is located at 4 Auerbach St., in Jaffa. (photo from Maskit)

When next in Israel, in addition to walking the beaches of Tel Aviv, being spiritually uplifted at the Wailing Wall in Jerusalem and enjoying the food across the country, carve out some time to see the fashion houses that have put Israel on the map.

Over the last few years, Israel has been leading in the fashion industry, with numerous graduates from Shenkar College of Engineering, Design and Art landing jobs with renowned fashion ateliers in Europe. But let’s take a step back in time.

In the 1950s, post-independence, immigrants from Yemen and Morocco arrived in Israel. The government sought to train the women in textiles in order to provide for their families. At the time, Ruth Dayan (Moshe Dayan’s wife) was approached to lead the women and, seeing their talent in embroidery and weaving, she suggested that the government and a Hungarian designer, Fini Leitersdorf, initiate a designing business.

The House of Maskit became the headquarters of fashion, with Ruth Dayan as the principal designer. Maskit became famous for their signature caftan, with embellishments of embroidery, textures and the colours of Israel. At their peak, Maskit was featured in Vogue. Their tunic-style creations were considered art, gaining world recognition, enabling them to sell in Bergdorf Goodman, Neiman Marcus and Saks. As Maskit’s success grew, a higher-end line was introduced, which had buttons made from river stones, olive trees and pure silver. The fabrics were from the finest sheep’s wool, as well as silk, linen and cotton.

In the 1970s, however, the Israeli government stopped funding Maskit, shifting its spending to other priorities, notably the military. Ruth Dayan stepped down and, ultimately, Maskit closed.

Full speed ahead some 30 years, designer Sharon Tal, who graduated from Shenkar, returned to her native Israel after designing for the House of Lanvin in Paris and Alexander McQueen in London.

Although a new mother, she was still working, involved with a British lifestyle website that focused on the trends in Israel. Tal’s aha moment came when she saw Duchess of Cambridge Kate Middleton’s wedding dress, which was designed by the House of Alexander McQueen. Upon viewing the outfit, with its elaborate embroidery, she knew it was time for her to get back to design.

Together with her husband, Nil, they discovered that the House of Maskit was ready to reopen. Tal picked up the phone and called Ruth Dayan, then 94 years old. The two became friends and Maskit eventually was reborn, in 2013, melding together its history and Tal’s designs, known for their soft lines and feminine feel.

Maskit’s clients include actresses like Sarah Jessica Parker and Jamie Lee Sigler. However, one of the greatest honours was when the late first lady of Israel, Nechama Rivlin, bestowed then-U.S. first lady Michelle Obama with a coat designed by Tal on a visit to Israel.

The couturier’s home is in Jaffa, where Tal has her atelier. The décor is wondrous, with stone walls, warm natural hues and rows of heavenly designs displayed. On your next visit, do some shopping for what are sure to be lifetime classics.

For more information, visit maskit.com.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

Glamour of a Leiber handbag

Judith Leiber (photo from Palm Beach Beauté)

Many of us gravitate towards objects that are bright and sparkly. Creating this magic in one handbag is what Judith Leiber, née Peto, accomplished.

Judith Peto was born in Budapest, Hungary, in 1921. Her mother, Helene, from Vienna, was a homemaker and her father, Emil, from Hungary, was a commodities broker. Together with her sister, Eva, the family had a bourgeois lifestyle.

Discovering that their teenaged daughter had a good head for numbers and academics, they sent Judith to London to study chemistry, with the hope that she would acquire a university degree and work in the cosmetics industry. Part of the reason they sent her away to school was a concern about her safety in case of a war. However, the distance from her family proved too difficult for Judith and she soon returned home.

She landed a job at a handbag company and, over the years, her father would bring her an assortment of unique handbags from his many travels around the world, thereby initiating Judith’s collection.

Learning the art of handbag-making from start to finish allowed Judith to become the first woman to join the Hungarian handbag guild; she gained the title of a true craftsman.

Judith and her family escaped and survived the Holocaust due to her father’s large circle of connections. He was fortunate to obtain a Schutzpass, a document that secured the bearer safe passage, giving the family, together with 26 others, access to a house set aside for Swiss citizens, where they could live. They ate what they could, slept on the floor and never left the security of the house.

“People in Budapest and my parents, especially my father, did one thing and then another to keep us safe, or as safe as we could be when everyone wanted to kill us,” Judith told the Jewish Exponent in a 2013 interview.

When Hungary was liberated, the family moved into a basement that was home to 60 survivors. Rebuilding the life they once knew was their goal. During this time, Judith met and fell in love with an American soldier, Gerson Leiber. Against her parents’ wishes, she married him in 1946 and the couple moved to the United States.

The young new immigrant had no intention of staying home and becoming a traditional housewife. With her knowledge and skill in making handbags, she got her first job at Nettie Rosenstein, a fashion designer. Working her way up in the company, she was commissioned to make a handbag to match the inauguration dress of the first lady, Mamie Eisenhower. The bag received high regard and this milestone, after 12 years of hard work, gave her the impetus to start her own brand.

In 1963, she launched her company with her husband and partner by her side, overseeing the business and operational duties. An avid artist himself, a painter, they were an unstoppable duo. In the 7,000-square-foot loft that became their studio, countless creations were brought to life, handbags that epitomized glamour, every piece an original, made with crystals and beads in shapes of animals, fruit and other objects.

A Judith Leiber handbag became a first lady tradition for the inauguration ball. Some A-list Hollywood stars put more thought into their Leiber handbag than their dresses, knowing it would be the focal point of any attire. One handbag could cost anywhere from $3,000 US to $20,000 US.

“That is what people pay for – quality,” Judith told the Exponent.

And quality was what she prided herself on, each bag being made by specialist craftsmen under Judith’s watchful eye in New York.

Her label brought in millions of dollars in sales each year and there was a waiting list for her creations, with women around the world wanting a timeless bag to wear and/or display as part of their home décor.

The company was sold in 1993, with Judith staying on as the head creator. She enjoyed her new life, moving out of New York and settling in East Hampton, N.Y., with her husband, “Gus.”

Over her career, Judith received numerous design awards and had her work exhibited in some of the world’s most renowned museums, including the Smithsonian, the Museum of Modern Art and the Metropolitan Museum, to name only a few.

In addition to being displayed elsewhere, there is the Leiber Collection museum in East Hampton, a project set in motion by Gus.

The Leibers were married for more than 70 years. Their earthly love story endured until 2018, when they died within hours of each other, both of heart attacks.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

The courageous beach queen

Lea Gottlieb at work. (photo from Lea Gottlieb Archive via Design Museum Holon)

Summertime … bathing suit season. As a child, I fondly remember our family trips to Israel. Among all the memories is the treat of a scrumptious falafel before we went off to the Gottex bathing suit factory, where my mother indulged my two sisters and me with the colours and styles from Lea Gottlieb’s latest swimwear collection.

Born Lenke Lea Roth on Sept. 17, 1918, in Sajószentpéter, Hungary, Gottlieb was raised in poverty. Before the Second World War, she worked as a bookkeeper in a company that produced raincoats. There, she fell in love with Armin Gottlieb, the owner’s son; the two married and started a family.

During the Holocaust, Gottlieb’s husband was imprisoned in a labour camp. Gottlieb and their young daughters, Miriam and Judith, went into hiding and were saved by a family who sheltered them in a pit behind their home beneath trees and flowers.

After the war, the family reunited and tried to rebuild what they had established in the past, moving to Czechoslovakia to start anew. However, staying in Europe, with its continuing antisemitism proved impossible for the Gottliebs and, in 1949, they moved to Israel.

They landed in the country with pretty much nothing but the clothes on their backs and Gottlieb’s gold wedding band. Turning this item into cash, as well as borrowing some money, she purchased a sewing machine and enough fabric to start making raincoats. It didn’t take long for Gottlieb to understand that a line of raincoats in a place that has mostly sunshine would not make for a fruitful future – rather, bathing suits would prove a more promising venture. Merging her name, Gottlieb, with the word textile, Gottex came into being.

Gottlieb’s Hungarian cultural roots remained evident. She maintained her distinct accent and served Hungarian cuisine in her showrooms. She celebrated her survival by incorporating flower motifs into her signature designs, and, with her choice of colours, she expressed her love of her new home, Israel – aqua for the Mediterranean, yellow for the dessert, pink for Jerusalem stone and greens, the Galilee. From swimwear came a line of trousers, caftans and tunics, as Gottlieb wanted her creations to be worn at the beach or by the poolside, for a drink at the bar and on the dance floor.

photo - Gottex Israeli fashion house, Tel Aviv, 1961 — Gottex Israeli fashion house, Tel Aviv, 1961. *(photo from wiki commons)*

During the peak of Gottlieb’s career, her work was admired by many leading ladies. Elizabeth Taylor, Princess Grace, Nancy Kissinger and Brooke Shields were among her many fans. A friendship formed with one special client, the late Princess Diana, who was given private showings in Buckingham Palace each season.

Gottlieb and her daughter Judith were the design team, based in Israel, while her husband oversaw the financial side and daughter Miriam ran the showroom in New York. Together, the family built a global fashion house and Gottex became the top swimsuit line in the United States, with the most sought-after models walking in their shows and being featured on the cover pages of international fashion magazines.

Gottlieb’s achievements included numerous fashion awards, earned both in Israel and elsewhere. A highlight of her career occurred at Yad Vashem, the World Holocaust Remembrance Centre, in Israel. There, Gottlieb was part of an honourary exhibition, called My Homeland, which acknowledged Holocaust survivors’ essential role in contributing to Israel through cultural, economic and national security development.

In 1995, the loss of Gottlieb’s husband, the financial pillar of the company, was a devastating blow. She was forced to sell Gottex in 1997. As part of the sale, she had to sign a non-compete agreement, which prohibited her from designing for eight years. And more loss was to come. In her daughter Judith’s final days of battling cancer, in 2003, she apparently implored her mother to continue with her passion of design and start again. But, even when the company did come up for sale, Gottlieb couldn’t afford to buy it back. “I lost the two most important things in my life, my daughter Judith and my life’s work,” said Gottlieb after her daughter’s death.

But, at 85 years old, Gottlieb managed to reinvent her career. With the support of a design team, she launched a new line of swimwear under her own label, Lea Gottlieb. The industry had become much more competitive since she created Gottex and, relatively soon after she had restarted, Gottlieb closed production and retired.

Gottlieb passed away in 2012, at the age of 94. She left behind a legacy in her beloved homeland, as well as in the eyes of veteran and aspiring designers around the world.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

The runway to healing

The writer at the bone marrow transplant ward at Ichilov Hospital in Israel. (photo from Ariella Stein)

Fashion is one of my many passions, as regular readers of the Jewish Independent will know by now. So, when I turned 50 this year, a milestone birthday, I decided to pursue a longtime dream – to create a fashion tract for bone marrow transplant survivors.

When I was 17 years old, I was diagnosed with Hodgkin’s lymphoma. At the time, I was in Grade 12, studying in Israel. My parents’ first reaction was for me to return to Vancouver, where they felt I should start my treatments. There was no time to waste, as it was at an aggressive stage. However, after much persuasion, I convinced my parents that I should stay in Israel. As part of the deal I made with them, I was to head back to Vancouver upon graduation and resume the next cycle of treatments.

I started chemotherapy. I had the most loving care from the staff at Tel Hashomer Hospital. I was on the road to recovery when I returned home.

After a few more bouts with chemo and some courses in radiation, however, we were given the devastating news that I had to undergo an autologous bone marrow transplant. The procedure had to start immediately. I lost the little hair I had left in just one day, couldn’t hold down any food or drink, and was separated from any ounce of humanity because I had no immunity. But I was getting better, thanks to the staff and doctors at the British Columbia Cancer Agency.

During the horrifying three-month stay in my isolated hospital room I was, paradoxically, injected with the poisonous chemo cocktail expected to cure me and the benevolent rays of light and love of my family. The support made me stronger and gave me courage. I had so much to look forward to. My two older sisters had countless discussions on having children for me if I couldn’t conceive, my father tried to grant me not just one star but the whole galaxy, my mother never left my side and my then-boyfriend-now-husband showered me with tenderness. The love in my room spread throughout the ward. Through the tears, we remembered to laugh and dream.

photo - The writer, at 18 years old, two months after being released from the hospital for treatment of Hodgkin’s lymphoma — The writer, at 18 years old, two months after being released from the hospital for treatment of Hodgkin’s lymphoma. *(photo from Ariella Stein)*

When it was time to go home, I was nervous about leaving my protected environment but full of excitement to start my new life. All I wanted was to feel and look healthy again. I bade farewell to my dull uniform of pajamas and welcomed my new outfit, especially chosen for me. On the door, it was waiting for me, as if knowing how I was craving to look like a girl again. I fondly remember stepping out in my blue leather mini skirt, black cashmere sweater and black knee-high boots, handpicked with care by my mom, a true fashionista. I looked fabulous and felt euphoric on the 10-minute ride home, the only place I was headed for the time being.

Fast forward some 30 years, and I am the mother of two miraculous children, Daniel and Natalie, who bring me the greatest happiness and naches, spoken like a true Yiddishe Mame. I am grateful every day for my blessed life. There have been bumps along my journey, of course. I have often wondered if other women had the transformational experience I did leaving the ward. I knew the day would come for me to help other survivors in my own way. Splitting my time between Israel and Canada, I chose to initiate a fashion project in Israel.

I reached out to the head of the bone marrow transplant unit in Ichilov Hospital (Tel Aviv Sourasky Medical Centre) and, to my astonishment, within minutes was told they were on board. My dream was becoming a reality.

My mission is to offer patients, upon their release, an outfit of their wishes to raise their spirit, as my mother’s fashion choices had raised mine. I wrote letters to as many clothing stores as I could, looking to find sponsors, hoping they would donate new outfits to recipients. I received a few replies saying nice idea, good luck; some never replied. But some did reply with open hearts, willing to contribute to the project.

Getting started has been challenging, one step forward and a few back. Frustrating as it is, I understand that it will take time but, among the obstacles, I will not give up. As the writer Paulo Coelho said, “When you want something, all the universe conspires in helping you achieve it.” I have named my project Lalas Wings. Lala is a nickname, dubbed by my niece and nephew 35 years ago.

I was taught to dream big by my mentor, my father, Karl Stein. Hopefully, by sharing my dream, I can make a significant contribution to many bone marrow transplant patients, starting in Israel and eventually reaching hospitals in more and more places. My experience leads me to believe that the seemingly externally focused gift of clothing is part of a perfect beginning to the complex healing process.

If anyone has any questions about Lalas Wings, I can be reached by email at [email protected].

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

Jewelry that’s easier to wear

This necklace uses snap fasteners instead of clasps [see below]. (photo from Deborah Rubin Fields)

Diane von Furstenberg is attributed with saying: “Jewelry is like the perfect spice – it always complements what’s already there.” Some of us would say that’s all well and good, until you have to ask for help in closing a necklace.

Maybe you can release the spring, which opens the lobster clasp’s arm, but you can’t hold it long enough to actually close the clasp. Or perhaps your hands just can’t negotiate the T into a toggle clasp’s circle. Whatever your exact manoeuvrability problem, one thing is sure, putting on jewelry can be a frustrating experience. And the frustration seems to increase with age.

In The Journals of Gerontology, academics Eli Carmeli, associate professor at Haifa University, the late Hagar Patish and Prof. Raymond Coleman of the Technion state, “Hand function decreases with age in both men and women, especially after the age of 65 years. Deterioration in hand function … is, to a large degree, secondary to age-related degenerative changes in the musculoskeletal, vascular and nervous systems.

photo - The necklace's snap fasteners — The necklace above’s snap fasteners. *(photo from Deborah Rubin Fields)*

“Prehension is defined as the act of seizing or grasping. Aging hands and fingers are especially prone to osteoarthritis and rheumatoid arthritis. It is clear that common tasks involving precision dexterity, two-hand coordination, such as are needed to thread needles, open buttons on clothing or fine-grip tasks, as in holding a pen or cutlery, become increasingly difficult with aging. This is also true with regard to simple handgrip tasks requiring strength, such as opening bottles. The difficulty of performing such tasks may be in part due to declining vision.”

So what are the different kinds of jewelry clasps or closures and how easy are they to use? Today, eight clasps are usually added to necklaces.

The lobster clasp and spring ring clasp have a spring-loaded mechanism. Both operate by fitting one end into the opened spring side, then releasing the spring mechanism to shut.

The fishhook clasp is so named because part of the closure resembles the hook used in fishing: one end is a metal hook, while the other is an oval-shaped case. The hook slides into and locks inside the case.

Somewhat similar in shape to the fishhook, the S hook works by sliding the S-shaped hook onto a ring at the other end.

In a toggle bar clasp, one end is a long bar or T shape and the other is an open shape, usually a circle. The bar slips through the centre of the shape and locks in place.

The barrel clasp is so named because, when closed, it looks like a barrel. This clasp consists of two metal pieces, one on each end of the necklace, which close by screwing together. Likewise, in the slide-lock clasp, one tube slides inside the other and locks in place.

Finally, both ends of a magnet clasp contain magnets, which attract each another and snap together, locking the piece of jewelry in place. While not always particularly attractive, the newer magnet closures can actually look quite pleasing.

Clips designed to be easy to put on. *(photo from Deborah Rubin Fields)*

While all these clasps are relatively secure, if you have dexterity issues, six of the eight might be difficult to manipulate. So, if you’d like to continue wearing certain pieces of jewelry, to what clasps should you switch? For people with handgrip problems, two necklace closures are usually recommended: the slide-lock and the magnet clasps.

Israeli Keren Doron, who has designed and produced gold necklaces, however, is skeptical about a magnet clasp staying closed when the necklace is really heavy. She also warns that it is possible to damage a necklace when switching its existing clasp. There are many ways to do so, although it depends on the different kinds of jewelry. For example, Doron said not all necklaces with stones can withstand the heat of burner re-soldering.

Occupational therapists at Jerusalem’s Shaare Tzedek Hospital suggest that people with dexterity problems switch to necklaces that are long enough to simply slip over the head.

If you enjoy wearing costume jewelry, a new Israeli company offers another solution. Snaps (snaps.co.il) makes attractive necklaces and earrings that completely do away with clasps. Instead, designers Lilach Bar Noy and Inbar Ariav glue snap fasteners to the back of their pendants (using either a single or double set of snaps) and to each end of the necklace chain. Without having to apply much pressure, the male and female parts of the snap attach.

Wearing pierced earrings may also be a problem for people with hand issues. One solution is to wear omega-back earrings with a hinged back that simply flips closed; there are no tiny posts or backs to manipulate.

Neta ben Bassatt’s fashion jewelry addresses the problem of closures in a different manner. As a student at Bezalel Academy of Arts and Design, she won a prize for her coat pins designed especially for people who have visual impairments. Her wood and brass pins may be used with heavier clothes, such as cotton, wool, linen, etc. Two of her pins have a kind of clasp that can fasten best to a shirt collar or the lapel of a suit, where it is easier to get to the other side of the fabric. Her other designs feature a long, open needle pin, which can be attached anywhere on the fabric. Importantly, the wearer does not need to touch the pin itself, thus eliminating the chance of sticking oneself.

Is jewelry important? The answer depends on whom you ask. One thing is clear: jewelry has been around a long time. As early as Chapter 24 of the Book of Genesis, Abraham’s chief servant (Eliezer) is giving jewelry to Rebecca’s family. And, with people living longer, more and more adaptability and accessibility issues will arise, so we are likely to be talking about jewelry for a long time to come.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Quality, affordability

Gaby Aghion started the fashion line Chloé in 1952. (photo from Chloé Archive)

Antisemitism was increasing in Egypt in 1945. Among the 80,000 Jews forced to leave their homes was Gabrielle (Gaby) Hanoka. Her birth name may not be recognizable to most, but the fashion house she created – Chloé – unquestionably is.

The youngest of seven children, born in 1921 in Alexandria, Egypt, Hanoka derived her distinct combination of business and creative style from her parents. Her father was an affluent cigarette manufacturer and her mother’s passion for fashion resulted in demanding copies sewn of all the latest Parisian couture. Hanoka was given a French education and, with that, embraced an ample affection for everything French.

Fittingly, Hanoka, together with Raymond Aghion, her elementary school sweetheart and subsequent husband, moved to Paris, making it home, with their son Philippe, until her passing at 93 in 2014. Befriending the upper stratum of European artists, such as Picasso and French poet Paul Éluard, earned them popularity within the art scene. Coming from a prosperous family enabled Aghion the luxury of opening a modern art gallery. The couple evolved into avid art collectors over the years.

Living a comfortable lifestyle was not enough for Gabrielle Aghion. In 1952, she resolved to flourish. “I’ve got to work … it’s not enough to eat lunch,” she is said to have informed her husband. Fashion was her choice.

She named Chloé after a friend who believed she lacked allure. Turning an extra room in her apartment into an atelier, she created six dresses, which set her success in motion. The styles corresponded with her socialist and free-spirited values, embodying youth and femininity using the finest fabrics. She wanted her designs to be accessible to regular people, without compromising on quality, coining the term prêt-à-porter, ready-to-wear.

Wanting to focus strictly on design, she partnered with Jacques Lenoir, who steered Chloé into a label. From 1956, Chloé’s fashion collection was shown twice a year at the grand Café de Flor on the Boulevard Saint Germain. These events became a fashion highlight for Parisian women. Aghion not only demonstrated an eye for fashion, but she also had a great sense for talent. In 1966, she hired the aspiring Karl Lagerfeld, who remained head designer until the mid-1980s. (Lagerfeld passed away just last month, at age 85.)

Chloé became the choice of some of the world’s most fashionable and beautiful women – Brigitte Bardot, Grace Kelly and Jackie Kennedy, to name a few. The first flagship boutique opened in 1971, followed by hundreds more worldwide. In 1975, Chloé perfume was launched, and also became an ongoing success.

In 1985, Aghion sold her company to the Richemont group. She remained active throughout the years, never missing a fashion show. The spirited Aghion continued to express her opinions before each collection and head designers took her insights into consideration.

A year before her passing, Aghion was awarded the highest merit in France, the Legion of Honour, for her contribution to the country’s fashion industry. Recollecting her starting point, she said, “The world was opening up before my eyes and I believed I could do anything. I felt I had wings.”

Her flight continues to shape the next generations of fashion enthusiasts.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

Mizrahi to perform here

Isaac Mizrahi’s cabaret show, which is at the Rio Theatre on March 18, is a preview of his new book I.M.: A Memoir. (photo by Britt Kubat)

Celebrated fashion icon Isaac Mizrahi is bringing his multiple talents to Vancouver. On March 18 at the Rio Theatre, he will be performing his cabaret show I & Me, accompanied by the Ben Waltzer Jazz Quartet.

Mizrahi’s North American tour is timed with the release of his new book, I.M.: A Memoir (Flatiron Books). The show, which includes poignant stories and fun songs, covers anecdotes about his life, his mother, what it was like growing up in an Orthodox Jewish Syrian community in Brooklyn, the challenge of being gay, and rising to the top of the fashion world. “It’s done with a lot of humour,” he told the Independent. “I hope it’s compelling, amusing and resonates with the audience.”

The songs, he explained, go along with the story. “I chose songs that can dramatize the story,” said Mizrahi, who has performed with Waltzer in clubs for more than 20 years. “My opening number is ‘I feel Pretty’ and, believe it or not, I am not singing it with irony.”

Mizrahi also delivers his own rendition of Cole Porter’s “You’re the Top.”

The first time Mizrahi showed off his talents in front of a crowd was in elementary school, when he started doing impressions for his peers.

“When I was about 7 years old, I went to see Funny Girl with my family and was so inspired by [Barbra] Streisand I started imitating her. Then I impersonated Judy Garland and Liza Minnelli,” recalled Mizrahi, who attended yeshivah from kindergarten through eighth grade. “I would do these female impressions inappropriately in places like the lobby of shul!”

But it was designing clothes for the rich and famous that made Mizrahi a household name. When he entered High School of Performing Arts in New York City, he had planned on going into show business. However, by the time he was a junior, he switched gears and found a better way to express himself. “I realized all my friends were gorgeous, thin, blond and movie-star types, and I was fat and I didn’t have that self-image,” he said. “So, I re-thought my career and decided to work in the fashion industry. It enriched me so much, and gave my life a different kind of story and platform.”

His interest in the world of fashion didn’t come from out of the blue. His father was a children’s clothing manufacturer and Mizrahi, who was obsessed with reading fashion magazines, had sewing machines at his disposal. “I started to make puppets and sew clothes for them,” said Mizrahi, who added that he liked doodling sketches of outfits in the margins of his Hebrew books. “By the time I was 10, I had this big puppet theatre in the garage and I made their clothes. My father had sewing machines everywhere and he taught me how to sew. By the time I was 13, I was a really good sewer and I started making clothes for my mom and myself. It became this fun, compelling thing. My mom, who is now 91 years old, was really into fashion and encouraged my interest.”

After high school, Mizrahi attended Parson’s School of Design in New York City. His first fashion job was working at Perry Ellis, then with designer Jeffrey Banks, and then Calvin Klein. Along the way, he honed his skills, in such areas as selecting fabric, sketching clothes and participating in design meetings. By the time he was 26, he went out on his own.

In 1989, he presented his first show, which catapulted him into fame and his couture soon dominated the fashion mags. He dressed celebs for red carpets, and his clients included Michelle Obama, Meryl Streep, Hillary Clinton and Oprah Winfrey.

“Designing for Michelle Obama was such a thrill,” he said. “And Barbra Streisand was so lovely. I tailored a suit for her and Women’s Wear Daily erroneously attributed it to Donna Karan. Barbra wrote me a note saying, ‘We know who really made this suit!’”

But Mizrahi’s successful journey has had its lows. While he made countless guest appearances on television and in movies, earned an Emmy nomination for best costume design for his work in Liza Minnelli Live and was the subject of the acclaimed documentary film Unzipped, which chronicled his 1994 collection, his company was losing money and closed after his fall 1998 collection.

He returned to fashion in 2002, teaming up with Target and becoming one of the first high-end designers to create affordable clothes for the general public. In 2009, he launched his lifestyle brand Isaac Mizrahi Live!, sold exclusively on QVC. In 2011, he sold his trademark to Xcel Brands. Among his many credits, he hosted his own television talk show, The Isaac Mizrahi Show, for seven years; he wrote two books; and he narrated his production of the children’s classic Peter and the Wolf at the Guggenheim Museum. In 2016, he had an exhibition of his designs at the Jewish Museum in New York. Currently, he sells on QVC and via Lord & Taylor, and serves as a judge on Project Runway: All Stars.

Throughout all of his fashion endeavours, he has found time to be on stage. Mizrahi, who is a charming storyteller, said he loves doing live cabaret. “I hope the audience will really enjoy themselves when they see my show, and laugh and enjoy the music,” he said. “I want them to get the idea who I am and how I got there – and I want them to know the story of my life.”

When asked what he’d like his legacy to be, the designer, entertainer and showman referred to his Judaism. “My name is Isaac, which means laughter in Hebrew,” said Mizrahi, who considers himself a cultural Jew. “I think, most importantly, I want my legacy to be about humour.”

Tickets to I & Me at the Rio Theatre are $58 in advance and $60 at the door. They can be purchased at riotheatre.ca/event/isaac-mizrahi-i-me. The March 18 show starts at 8 p.m.

Alice Burdick Schweiger is a New York City-based freelance writer who has written for many national magazines, including Good Housekeeping, Family Circle, Woman’s Day and The Grand Magazine. She specializes in writing about Broadway, entertainment, travel and health, and covers Broadway for the Jewish News. She is co-author of the 2004 book Secrets of the Sexually Satisfied Woman, with Jennifer Berman and Laura Berman.