Threeasfour
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REVIEW
COMPLETE COLLECTION
NEW YORK, September 15, 2011
By Matthew Schneier
The line between performance art and fashion (at least as it's practiced in New York) can be lightly drawn. As the models queued up at the close of Threeasfour's latest show today, you could imagine they were standing on it. Or they might have been on the line—or in some conflicted regions of the world, the wall—that separates one culture from its neighbor. InSHALLOm, as Threeasfour called the show, was about one such region: the Middle East. Some have accepted violence and rancor as the inevitable conclusion when disparate ethnic and religious groups come together. But Threeasfour is living proof it's not—among them, they represent an Israeli, a Lebanese, and a Russian, all of different backgrounds, who have come together to create.They made prints that wove together iconography from Jews and Arabs, Israelis and Palestinians both: six-pointed stars and kaffiyeh patterns, the evil eye, the hamsa. These were printed on the billowing, fluttering silk chiffon and silk de chine dresses the designers have been exploring season in and season out. Breastplates dangled hamsas, glass evil-eye pendants, the knotted strings of tallisim. One necklace was made of two joined shofars, the ram's horn ritually blown on the Jewish new year. Taken as a whole, it proved affecting, a message about the essential similarity of even warring parties. It was probably more moving as art than as fashion. But as front-row observer and longtime fan Yoko Ono noted, "There's not one fashion designer like them. Art comes first." You wouldn't bother looking for walk-the-dog clothes here, in other words, or concessions to any trend but peace. "We wanted to do it for a long time," designer Adi Gil said. "It's about connecting people; it's not just about clothes." It won't be, either: Threeasfour is planning a show in Tel Aviv, and the creation of a film to be screened in the West Bank.
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