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No Designs on celebrity By Ilit Mainemer Two months from now, a one-off collection by designer Galit Levi will appear on the H&0 discount clothing chain's racks. The collection, for the GL label, will include 40 items for day and evening wear. This is not H&O's first collaboration with a prominent local designer. A year ago, the chain launched a capsule collection with designer Dorin Frankfurt, called "DorinF," which was quite a success. The concept, Frankfurt's design and the execution of that collection were well done, given the price limitation. The collection exposed both the veteran designer and the clothing chain to new clientele. Advertisement H&O rose to a challenge that no other company in Israel has been willing to take on - and this is a shame. Even if there is no basis for comparison in terms of fashion and commercial success (H&O is not H&M, and Galit Levi is not Stella McCartney), H&O undoubtedly trained its eye on the Swedish firm's thriving model when it adoped the strategy. H&M has led the international trend of one-off collaboration with mega-designers whose wares are not usually accessible to most of the population. The firm has worked with McCartney, Karl Lagerfeld, Dutch partners Viktor & Rolf and Roberto Cavalli, and every one of those collections produced a sales frenzy. All of the items were plucked from the shelves within a few hours. Rouland Mouret's collection of dresses for Gap is another example of the model's commercial success. Top Shop enlisted supermodel Kate Moss as a designer, in a collaboration that has continued for several seasons. Two years ago, Diesel collaborated with Karl Lagerfeld on a limited-edition line of jeans. Design challenge None of these designers need the publicity from designing collections for popularly-priced commercial chains, but it appears that all sides gain from these ventures. Consumers can buy designer clothing at affordable prices, the designer's name is on everyone's lips, and the chain achieves a marketing breakthrough. "H&M's model is definitely worth applying in Israel," says H&O Chairman Israel Peleg. "As far as we are concerned, the concept was a design, label and commercial success. We were interested in attracting new clientele who did not have access to Dorin Frankfurt. She produced a precise, tailored collection, and the customers identified its more exclusive lines." Peleg follows H&M in his support for collaboration with celebrities. "We are keeping step with H&M. They took Madonna. Now, the question is who the Israeli celeb will be." Frankfurt commented, "It was challenging to step outside of my own thinking - my own way of life - and attempt to transfer it to others. That is a very important exercise for any designer: to listen to new clientele, address them in your own language, and connect with them." It wasn't easy, she says, but, in retrospect, "I believe that it was beneficial. These are people who are accustomed to buying imported merchandise, and the project connected them to a designer who thinks locally." In the summer of 2005, Yosef Peretz designed a limited-edition collection for the Hamashbir Lazarchan department store. That collection was sold in a special space called "Yosef 4 M." In contrast with the evening wear he was designing for his own collections, the Hamashbir collection featured casual dayware. Peretz considered it a challenge, and the collection was a success. Then why are there only a few examples of this trend? Frankfurt says she was sure that many chains would follow H&O's lead. "I thought I would be the first to enter the fray, and we would now be surrounded by similar projects - and that this would become the norm, as it is elsewhere in the world," she says. "Israeli designers speak to the clientele. If more companies would rise to the design challenge, they would see that, financially, this is an enormous boost. They would profit." But collaborations with respected veteran designers, or young rising stars, still rarely appear on the local fashion landscape. This was actually more common in the past, although the collaboration was of a different nature. In the 1960s, the local fashion industry recognized the value of designers, and understood they deserved much of the credit for the industry's success. Designers who owned their own studios would design collections for factories, which produced clothes for export and the local market. Thus, Lola Bar designed commercially successful items for Ata textiles, while managing her own exclusive brand, Salon. Tamara Yuval Jones designed leather clothing for Gingette and knits for Serina. Collaborations of this sort continued over the years, like the one at Honigman. "We were among the first [Israeli] companies to adopt this trend," notes Micha Honigman, CEO and partial owner of the clothing firm. "We collaborated with Gideon Oberson, who designed the children's collection in the 1970s. He had a line, in his own name, and later designed a line for women as well. After him, we collaborated with Oded Gera." It didn't work out Major local firms, like Castro, Honigman, Fox and Renuar, do not choose to lend such support to young, independent Israeli designers nowadays. Nor do they collaborate with veteran, acclaimed local designers. It appears that leading local fashion chains are unwilling to give exposure to young talent who have begun to establish a reputation. To do so, they would have to display those designers' signed collections, rather than hire them as members of an enormous staff that designs mass-produced collections for factories, in which a designer's personal statement disappears. On the other hand, veteran designers neither initiate nor agree to collaborations of this type, despite the fact that they could expose their collections to fashion-conscious clientele who cannot afford to purchase designer clothes. "I would certainly agree," Oberson says. "It's a breath of fresh air for both parties. Occasionally adopting a designer's line is the proper step for a major company that wants to refresh its merchandise. It has already proven itself." When asked if he was contacted to engage in such collaborations, Oberson says he was, "but it didn't work out, commercially." Honigman is not currently interested in the concept. Micha Honigman says, "Now that the chain has developed, the feeling is that the size of the stores and existing selection do not permit us to provide another platform at this time. We support young designers and advancement within the company, and it is good for us. Collaboration with Shenkar [College of Engineering and Design] students is the direction that we are emphasizing right now." The concept also prompts lukewarm responses at Renuar. "We have no need for it," explains Renuar Group CEO Serge Deri. "We produce fashion and allow our designers the freedom to produce lovely things that suit their taste." Etti Rotter, joint CEO of Castro, does not reject future collaborations of this type. "The culture in Israel is different. There are no mega-designers, but there are fine designers who have left their mark. I showcase Israeli design capability, and I believe we have something to offer. My mind is open to all the styles, but to date, this has not been possible. The entire issue requires long-term preparation and decision making." At Castro, as well, "We are busy grooming Shenkar students, at this moment," Rotter says. "For years, we have served as an internship venue for Shenkar students, who are exposed to every phase of our production and receive everything we can give. In the past, I also attempted to give students the chance to produce a mini-collection of their own. Some succeeded more than others. But, in any case, this is not something that one should enter lightly. As far as I am concerned, collaborations occur within the team, when two forces empower one another." In practice, celebrity designer collaborations are not part of Castro's current design policy, despite the fact that Rotter herself says, "When you do this well, it's a win-win situation." Bookmark to del.icio.us   Death penalty Iran hands down death sentence to man who spied for Israel. Robot hospital The place where IDF treats droids wounded in the line of fire.

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