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โจ	โจ	ื”ืฆืฆื” ืœื—ื“ืจ ื”ื”ื’ืฉื•ืช ื‘ื‘ืฆืœืืœ, ืจื’ืข ืœืคื ื™ ืฉื”ืกืงื™ืฆื•ืช ื”ืจืืฉื•ื ื•ืช ื”ื•ืคื›ื•ืช ืœื“ื’ืžื™ื ๐Ÿคซ

ืœืจืืฉื•ื ื” ื”ืฉื ื”, ื”ืžื—ืœืงื” ืœืฆื•ืจืคื•ืช ื•ืื•ืคื ื” ื‘ื‘ืฆืœืืœ ืžืฉืชืชืคืช ื‘ืฉื‘ื•ืข ื”ืื•ืคื ื” ื™ืฉืจืืœ ืงื ื“ื” ืชืœ ืื‘ื™ื‘, ื‘ืคืจื•ื™ืงื˜ ืžืฉื•ืชืฃ ืœืจื’ืœ 100 ืฉื ื” ืœืื’ื•ื“ืช ื”ืคื•ืขืœ ื•ื‘ื”ืฆื“ืขื” ืœืกืคื•ืจื˜ ื”ื ืฉื™ โ›น๐Ÿผโ€โ™€๏ธโฉโฉ
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โจ	ื‘ืง 2 ืกืงื•ืœ ๐ŸŽ ื™ืจื™ื“ ืคืชื™ื—ืช ืฉื ื” ื‘ืžืคืขืœ

ืจื’ืข ืœืคื ื™ ืฉื ืคืจื“ื™ื ืžื”ืงื™ืฅ, ื—ื•ื–ืจื™ื ืœืกืคืกืœ ื”ืœื™ืžื•ื“ื™ื ื•ื ื•ืกืขื™ื ืœืžืฉืคื—ื” 
ืœื—ื’ โ€“ ื”ืžืคืขืœ, ืชื•ืฆืจ ื•ืืงืกืคื•ืจื˜ ืžืืจื’ื ื™ื ื™ืจื™ื“ ืคืชื™ื—ืช ืฉื ื” ืžื•ืฉืœื ื‘ื—ืฆืจ.

ืืžื ื•ืช, ืื•ืคื ื” ื•ืคืจื™ื˜ื™ ืขื™ืฆื•ื‘ ืฉืœ ืืžื ื™ื ื•ืžืขืฆื‘ื™ื ืžืงื•ืžื™ื™ื, ืžืชื ื•ืช ืœื—ื’ื™ื ื•ื“ื‘ืจื™ื ืฉื•ื•ื™ื ืœื”ืชื—ื“ืฉ ื‘ื”ื ืœืงืจืืช ื”ืฉื ื” ื”ื—ื“ืฉื”. ื•ื’ื โ€“ ื’ืจื™ืœ ื”ืžื‘ื•ืจื’ืจ, ื‘ื™ืจื•ืช ืงืจื•ืช, ืงืขืงื•ืขื™ื, ืชืงืœื•ื˜ื™ื ื•ื”ืื ื’ ืฉืœ ืฉื™ืฉื™.

ื‘ื”ืฉืชืชืคื•ืช โ—‚ ืžืชืŸ ื‘ืŸ ืื•ืจ โ€ข ืคื•ืคื™ืง โ€ข ืืกื˜ืจื” ื•ื™ื ื˜ืื–โ€™ โ€ข ืกื™ืœื‘ื™ื” ืžื•ื“ื™ืœื™ืื ื™ โ€ข ืžืขื™ื™ืŸ ื›ื”ืŸ โ€ข ืคื ื™ืžื™ืช โ€ข ื“ืคื•ืก ื—ื ื˜ืจื™ืฉ โ€ข ืขื– ืจืข โ€ข ื”ื•ืฆืืช ืืกื™ื” โ€ข ื ืขื” ื›โ€ืฅ โ€ข 41028 ืฉื•ืค โ€ข ื ืขืžื™ ื–ื™ืœื‘ืจืฉื˜ื™ื™ืŸ โ€ข ืจื—ืœื™ ืฆืขื™ืจื™ โ€ข ื‘ืจืืœ ืฉืžื—ื•ืŸ โ€ข ื ื’ื” ืื‘ื™ืฉืจ โ€ข ื“ื™ืŸ ืœื ืจ โ€ข ืื™ื” ืฉื•ืจ โ€ข ืจื™ืงื‘ื•ืŸ โ€ข ื ืขื ื•ืงืกืœืจ โ€ข ืื™ืœืŸ ื ื“ืœ ืืฉืจ โ€ข ืืจื– ืฆื•ืจ โ€ข ืงื•ืงื• kruppa beaded โ€ข peaceful beads โ€ข aner 5777 โ€ข etoile studio

4.9 โ€ข ืฉื™ืฉื™ โ€ข 10:00โ€“16:00 โ€ข ื”ื›ื ื™ืกื” ื—ื•ืคืฉื™ืช

๐Ÿ–ผ๏ธ ื’ื™ื ืื•ืคื ื‘ืšโฉ @victorxwifi
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ืžืฉืขื ื•ืช
ื™ืขืœ ื‘ืŸ ืฆื™ื•ืŸ

ื”ื ื—ื™ื”: ืขื ืจ ืฉื‘ื—

ื”ืคืจื•ื™ืงื˜ ื”ื•ื ืชื•ืœื“ื” ืฉืœ ืžืกืข ืืœ ืขื‘ืจ ืชืžื™ื›ื” ื•ื”ื™ืฉืขื ื•ืช: ื”ืžื•ื›ื ื•ืช ืœืืคืฉืจ ืœืขืฆืžื™ ืœื”ื™ืชืžืš, ื•ื”ืจืฆื•ืŸ ืœืคืขื ื— ืžื”ื™ ื”ื™ืฉืขื ื•ืช ืขื‘ื•ืจื™. ืžื•ื˜ื™ื‘ ื”ึพV ื”ื—ื•ื–ืจ ืœืื•ืจืš ื”ืงื•ืœืงืฆื™ื”, ืžืกืžืœ ืืช ื”ืžืฉืขื ื•ืช ื”ื‘ืกื™ืกื™ื•ืช ื‘ื™ื•ืชืจ ืฉืœื™. ื‘ืžื•ื‘ืŸ ื”ืคื™ื–ื™ ืืœื• ื”ื ื”ืจื”ื™ื˜ื™ื, ื•ื‘ืžื•ื‘ืŸ ื”ืžื•ืคืฉื˜โ€“ืžืขืจื›ื•ืช ื™ื—ืกื™ื ื•ื‘ื™ืช, ื”ึพV ืžื‘ื˜ื ืืช ื”ืื™ื–ื•ืŸ ื”ืขื“ื™ืŸ ืฉื‘ื™ืŸ ืฉื ื™ ื›ื•ื—ื•ืช ืžื ื•ื’ื“ื™ื, ื”ื ืคื’ืฉื™ื ื‘ื ืงื•ื“ืช ืชืžื™ื›ื” ืžืจื›ื–ื™ืช.
ื”ื‘ื™ืช ืฉื‘ื• ื’ื“ืœืชื™ ืžืฉืžืฉ ืžืงื•ืจ ื”ืฉืจืื” ืœืฆื‘ืขื•ื ื™ื•ืช ื•ืœื—ื•ืžืจื™ื•ืช ื‘ืงื•ืœืงืฆื™ื”, ื”ื‘ื™ืช ื‘ื ืœื™ื“ื™ ื‘ื™ื˜ื•ื™ ื‘ื’ื•ื•ื ื™ื ื—ืžื™ื, ื‘ืจื”ื™ื˜ื™ ืขืฅ, ื•ื‘ืžืคื’ืฉ ื‘ื™ืŸ ืกืจื™ื’ื™ื ืจื›ื™ื, ืืจื™ื’ื™ื ื™ืฆื™ื‘ื™ื ื•ืืœืžื ื˜ื™ื ืžืขื•ืœื ื”ื ื’ืจื•ืช. ื“ืจืš ื›ืœ ืืœื• ืื ื™ ืžื‘ืงืฉืช ืœืชืช ืฆื•ืจื” ืœื‘ื™ืช, ืœืงืฉืจื™ื ื•ืœืื ืฉื™ื ื”ืžืœื•ื•ื™ื ืื•ืชื™ - ืืœื” ืฉืื ื™ ื ื•ืฉืืช ืื™ืชื™, ื•ืืœื” ืฉืขืœื™ื”ื ืื ื™ ืžื‘ืงืฉืช ืœื”ื™ืฉืขืŸ ื‘ื—ื–ืจื”.
ื—ื•ืžืจื™ื: ืกืจื™ื’ื™ ืฆืžืจ ื•ืคืฉืชืŸ, ืืจื™ื’ื™ ื›ื•ืชื ื”, ืขืฅ.
ื˜ื›ื ื™ืงื•ืช: ืกืจื™ื’ื” ื‘ืžื›ื•ื ื” ,ืชืคื™ืจื” ื‘ืžื›ื•ื ื”, ื ื’ืจื•ืช. 
	
______________________________

Anchors
Yael Benzion

Supervisor: Aner Shevach

The Anchors project was born out of a personal search for points of support within space. Throughout my research, the tilted V-shape emerged repeatedly, becoming an image of home, relationships, and support - a form that simultaneously pulls and balances.
From this shape, a stool was conceived: an object that is both a piece of furniture and a wearable accessory, moving between being carried and being leaned upon. The V-shape extends into the garments and knitwear, serving as the foundation for the collectionโ€™s silhouettes through various folds, volumes and cuts.
The color palette draws inspiration from the home I grew up in and my Russian roots, blending soft knitwear, structured woven fabrics, and elements from the world of woodworking. Through these objects and garments, I examine the people I carry with me, and those I wish to lean back on.
Materials: wool, cotton, linen, wood. 
Techniques: machine knitting, woodwork.

Photography: 
โ€ช@guyrashkovanโ€ฌ
@nadavyahalomiโ€ฌmโ€ช
@yuvalurbachโ€ฌbachโฉ
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ืžืจ ืงื–ื™ื ื•
ื’ื™ื ื™ื•ืกืฃ ื™ืจื–ื™ืŸ

ื”ื ื—ื™ื”: ืขื ืจ ืฉื‘ื—	

ื’ื‘ืจ ื‘ื—ืœื™ืคื” ืžื—ืคืฉ ื›ื•ื— ื•ืฉืœื™ื˜ื”, ื”ื•ืœืš ืœืื™ื‘ื•ื“ ื‘ืขื•ืœื ืฉืœ ื”ื™ืžื•ืจื™ื, ืžื—ืจ ืœื ืงื™ื™ื ื•ื”ืžืจื“ืฃ ืœื ืžืคืกื™ืง.
ื‘ืคืจื•ื™ืงื˜ โ€˜ืžืจ ืงื–ื™ื ื•โ€™ ืื ื™ ื‘ื•ื—ืจ ืœื”ืชืžืงื“ ื‘ืžื”ืžืจ ื”ื›ืคื™ื™ืชื™, ื”ืžืชื ื”ืœ ื‘ื™ืŸ ื”ื ื™ืฆื—ื•ืŸ ื”ืžืชื•ืง ืœื”ืคืกื“ ื”ืžื•ื—ืฅ.
ืดื˜ืจื™ืคืด ืžื”ื™ืจ ืฉืœ ืื’ื•ืžืื ื™ื”, ืžื”ื•ืœ ื‘ืชื—ื•ืฉื•ืช ืฉืœ ืœื—ืฅ, ื—ืจื“ื”, ื•ื’ื™ืจื•ื“ื™ื; ื”ืื•ืจื•ืช ื”ืžืจืฆื“ื™ื ืฉืœ ื”ืงื–ื™ื ื• ืžื˜ืฉื˜ืฉื™ื ืืช ื”ืžื•ื“ืขื•ืช. ื”ืชืจื’ืฉื•ืช ืžื”ื•ืœื” ื‘ื—ืจื“ื” ื•ืจื’ืข ืื—ื“ ืฉืœ ื”ืชืจืกืงื•ืช ืงืฉื”.
ื‘ืคืจื•ื™ืงื˜ ืชืจื’ืžืชื™ ืืช ื”ืžืืคื™ื™ื ื™ื ื•ื”ืžืจืื•ืช ื”ืงื™ืฆื•ื ื™ื™ื ืžืขื•ืœืžื•ืช ื”ื”ื™ืžื•ืจื™ื ื•ื”ืงื–ื™ื ื• ืœื›ื“ื™ ืงื•ืœืงืฆื™ื™ืช ืœื‘ื•ืฉ, ื”ืžืฆื™ื’ื” ืืช ื”ืžืชื— ื‘ื™ืŸ ื”ืฉื™ื ืœื‘ื™ืŸ ื”ืชื”ื•ื. ื”ื’ื‘ืจ ื‘ื—ืœื™ืคื” ืžื—ื•ื™ื˜ืช ืฉื”ืกืชื•ื‘ื‘ ื‘ื—ื–ื” ื ืคื•ื—, ืžืกื™ื™ื ืขื ื”ื–ื ื‘ ื‘ื™ืŸ ื”ืจื’ืœื™ื™ื.
ื”ืืกืชื˜ื™ืงื” ืฉื•ืื‘ืช ื”ืฉืจืื” ืžื™ืžื™ ื”ื–ื•ื”ืจ ืฉืœ ื•ื•ื’ืืก ื•ืžืกืจื˜ื™ื ื›ืžื• ืคื—ื“ ื•ืชื™ืขื•ื‘ ื‘ื•ื•ื’ืืก, ืกืงืืจืคื™ื™ืก, ืงื–ื™ื ื• ื•ืขื•ื“.
ื˜ื›ื ื™ืงื•ืช: ื—ื™ืชื•ืš ืœื™ื™ื–ืจ, ืชืคื™ืจื”, ื”ื“ืคืกืช ืชืœืช ืžื™ืžื“, ืชื“ืžื™ืชื ื•ืช ืงืœืืกื™ืช, ืงื™ืคื•ืœ ืงืจื˜ื•ืŸ ื•ืงืœืฃ, ื”ื“ืคืกื” ื“ื™ื’ื™ื˜ืœื™ืช.
ื—ื•ืžืจื™ื: ื›ื•ืชื ื”, ืฆืžืจ, ืกืื˜ืŸ, ืžืฉื™, ืงืจื˜ื•ืŸ, ืงืœืฃ, ืขื•ืจ, PLA.

______________________________

MR. CASINO
Guy Yarzin

Supervisor: Aner Shevach

A man in a suit chasing power and control, losing himself in a world of gambling where tomorrow doesnโ€™t exist and the pursuit never ends.
In this project, I choose to focus on the compulsive gambler, who walks on the thin line between the sweetness of victory and the crushing weight of defeat. A fast-paced trip of egomania, laced with anxiety, stress, and physical restlessness. The flashing lights of the casino blur all self-awareness, a high of excitement mixed with fear, leading to a sudden, brutal crash.
Through this collection, I translated the extreme characteristics and visual language of the gambling world into garments that embody the tension between the peak and the abyss. The man who began in a sharp, tailored suit with a puffed-out chest, ends with his tail between his legs.
The aesthetic draws inspiration from the golden age of Vegas and iconic cinema like Casino, Scarface, and Fear and Loathing in Las Vegas. 
Techniques: laser cutting, sewing, 3D printing, patternmaking, cardboard and card folding, digital printing.
Materials: cotton, wool, satin, silk, cardboard, playing cards, leather, PLA.

Photography: 
@guyrashkovan 
@nadavyahalomi 
@yuvalurbach
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