As globalism continues to make inroads into all aspects of modern life, movements to preserve, collect, reignite and promote the traditions, artefacts and production methods of community groups now enjoy greater attention than ever before.
How does globalism play out at grassroots level? How is this new phenomenon affecting high level of industry?
FASHION HUB 2019 KEYNOTE
Maskit: Israel’s First Fashion House
Maskit – an Israeli fashion house founded in 1954 – exemplifies fashion playing a crucial role in the social, economic, aesthetic and political life of a community.
As Israel’s first fashion house, Maskit celebrated the traditional craftsmanship of Yemenite and North African embroidery and handicraft. The house was instrumental in providing work opportunities for new immigrants to the country. Once featured on Vogue covers and stocked in international luxury boutiques (Bergdorf Goodman, Browns, and more), Maskit fell into receivership following privatization in the 1980s. In 2013, the house was re-established by Sharon Tal, previously Head of Embroidery at Alexander McQueen.
Tal shares the story of working alongside Maskit’s original founder, Dayan, to revive a luxury label that once brought Israel’s melting pot of ethnic styles to the wardrobes of fashion icons such as Audrey Hepburn.
Luxury As Business: Creating the ‘Must Have’
How high is high-end? The answer on the lips of investors, portfolio managers and economists remains elusive. Designers, consumers and fashionistas ask the same question, with just as elusive conclusions. But as commerce butts heads with creativity, many in the industry question what makes an artefact of fashion a ‘luxury’: supreme materials? expert craftsmanship? Or merely just the price-tag?
SCCI is joined by Philip Corne, Non-Executive Director of Louis Vuitton Australia, as he shares personal reflections on the luxury industry that specialises in shaping desire. Learn about the business of selling the dream.
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