9 minutes ago
When I began working on the photography project for Vogue Hommes Int. , I thought to myself that I finally had an opportunity to work also with color. Up until that time, my work was always monochromatic—soldiers in dusty military bases, youths in the drab periphery. Now, I said to myself, shooting fashion photos, I would be able to throw in some color. The Color Field Painting of American abstract expressionist Barnett Newman came to my mind and I wanted to use that shade of red. But, to my dismay, when I read the trend report that was sent to me before the shoot, I discovered that the autumn/winter fashion color palette I was asked to photograph was black and bleak. Luckily, talented fashion editor @paulmatherstyle managed to find a photo of a red Paul Smith jumpsuit and sent it to me. He was surprised when I asked him to get me three of them.
During that time, just like today, Israeli politicians were debating the expulsion of migrant workers from the country. I believe that, like me, many Israelis are embarrassed by the conduct of the immigration authority; embarrassed about the way in which those who were, until recently, brought here willingly, were expelled in disgrace years after their visas had expired.
The main axis of my work are issues of Israeli identity, and I dealt with matters of identity also when I created the fashion series for Vogue. I thought of the connection between fashion and identity—how it is that people often choose to purchase a one of a kind piece because they want to wear something no one else owns. What would happen, then, if I triplicated this garment? It would become a uniform. Authorities dress people in uniforms to obliterate the individual’s identity. I thought of situations in our time and age where large companies employ low-paid workers in distant places in the Far East to manufacture products they could never purchase themselves. I thought of fashion victims and prisoners uniform. This is how this photograph came to be.