By: Azad Karimi
I believe the fashion system needs to be reinvigorated even prior to Covid-19. Covid-19 forced an industry that was originally unsustainable to re-evaluate its existing processes. We should be questioning if all seasons and the segregation of gender are even necessary.
Interview
Australian-Serbian Brand Fashion Designer Joshua Djordjewitsch
By Azad Karimi
I wish you could see how surprised I was when Joshua sent his answers to me. He sent his answers very carefully and delicately in two files with different versions.
He is a very young artist. It is very talented and clear.
I remember many years ago in Kurdistan, I published a long article about the history of clothing in my hometown. Many old tailors and draperies worked with me.
The story of the song was made because of a linen fabric that was distributed with a public food ration coupon.
On a cold winter day at work of my late friend Seyed Ghafoor Hassani and I talked to our mutual friend Mr. Mohammad Amin Fathi, who was sharing his memories of the past with me, about the name of an old Saqqez song and its origin, and why this song came into being. They told me that our Jewish compatriot, Ishaq(Izak) or "Dzabore", the composer and musician of those years, composed a song in honor of Ms.Hamide Fathi.
The name of this song was Chiti Shirkati. The song "Chiti Shirkati" became famous and its fame went out of Saqez and it was sung by other artists in Erbil, Sulaimaniyah, Mahabad and Sanandaj. After nearly 70 years, this song is still one of the most beautiful and famous Kurdish songs. Chiti Shirkati was a kind of cloth known for its distribution by the government. During the years of World War II (1945-1939), the high cost and scarcity of necessities such as food and other necessities affected the people, and in short everything, even cloth and fabric, was scarce. The Iranian government distributed coupons to deal with high prices, such as in war-torn European countries. This coupon was due to the quotas of goods and "Chiti Shirkati" was no exception to this category. This shirt was made of Chiti Shirkati fabric that Ms.Hamide Fathi wore and was so graceful for her height and stature that Izak, the musician of our city, sang and immortalized Chuti Shirkati's memorable poem and song.
Izak immigrated to Israel on 1950.Peace be upon him.
In this YouTube link, you can listen to this song, which was sung by Hassan Zirak in the 1960s on the Kurdish radio in Kermanshah, in Iranian Kurdistan.
https://www.youtube.com/watch?v=NETULX1Aetc
Hassan Zirak is the most famous Kurdish singer in the Sorani dialect and died in 1972.Happy soul! To be honest, the introduction to this interview is one of the strangest I have ever written. Along with nostalgia.Thank you dear Joshua, you are a blessing. I wish you the best with happiness and success.I invite my readers to read our amazing interview.
Thank you!
Vestland-Norway
1-Please present yourself (Name, education, Civil status and...)
.Joshua Djordjewitsch | Bachelor of Branded Fashion Design | independent designer currently based in Brisbane, Australia
2-What is your artistic specialize?
.I recently completed a Bachelor of Branded Fashion Design where I further explored my vision that evolved organically into my independent label, Djordjewitsch.
Djordjewitsch offers men’s and women’s designs ungoverned by conventions with an emphasis on minimalism and highly considered fabrics, in brutalist silhouettes – creating a dialogue for the nonconformist.
3- When and how did you become interested in this field of artistic business?
.Growing up, I was (and still am) greatly interested in film - in particular, art-house, horror, and foreign films. I have a deep appreciation of the various art forms that contribute to the medium of film and how these components work together to create a visual language (e.g. cinematography, music/sound, Mise en scène, wardrobe etc). Over time, my focus shifted from film to fashion. I consider fashion to be a more direct and tangible way for consumers to express their own sense of self. Whilst films generally attempt to depict viscerality, I found I preferred to translate my own thoughts, feelings, and moods impressionistically into fashion design. Additionally, when I was a preschooler, my desire to create was innate. This was evident in my attempts to make dresses and shoes out of paper, glue, tissues boxes and various household items.
4- Who was your motivator?
.I have multiple motivators, some of whom were close family, friends, designers I admire, and others are emotional motivators. My mother has always been my biggest motivator. The female strength she posses inspires and provides me with determination that is visually reflected in the garments. Also one of the university lecturers, Jakie, resonates with me given she is highly supportive and acts as role model.
I have great admiration for iconic designers such as Yohji Yamamoto and Ann Demeulemeester – they carved spaces for their aesthetic and managed to challenge fashion ideals. There was also a particular concept boutique Brisbane, called Fallow. For me, fallow was always a form of escapism and a darkly romantic world full of inspiration. I hope to provide that sense of otherworldliness I experienced (in my own way).
Furthermore, growing up I always felt like an outsider, so I identified with the outcasts and those on the fringe. Naturally, I become quite rebellious in high school. It is within rebellion one can live their truth on their own terms – something that motivates me to continue my work, even if it others don’t understand it.
5- What was your parent’s reaction?
.I was raised mostly by my mum. She provides on going support. Growing up, she always highlighted the importance of having one’s own voice and question common rhetoric. I guess this is an integral part of allowing one to discover their identity. Mums encourage me to embark on endeavors if they provide fulfillment.
6-When started you such as a professional businessman?
.I am looking at registering my business this year as I’ve generated an increase of interest from friends, public, and industry. As mentioned previously, this has formed organically during my time at university. However, I wouldn’t mind working for another label simultaneously that I believe in.
7-Are you thankful and happy because of your activities as an artist?
.Shopping locally for garments was very uninspiring and limiting. Despite having access to online stores, I preferred the tactile experience in-store. So I started to make my own clothes that I would want to wear, but couldn’t find. Whilst the creation of concepts can be a lot of work, the process unfolded very naturally. The mind is full of endless inspiration that can be harnessed, and I continue to explore and surprise myself. When draping garments on the stand, I feel time and the world is at a standstill. I always drape with music playing to help feed the energy into the design. I greatly appreciate seeing a final product that can emotionally connect on a deeper level with the consumer. Sometimes, a design for me can have significant meaning(s) that won’t always reveal it’s self till completion and upon reflection.
8-How you see the view? About art, culture, business...?
.Art, fashion, and design reflect the cultural climate and is needed to help enhance existence. However, our current culture’s attitude to consumption is more disconnected, dissociated with a throw-away mentality. I, too, find myself consuming imagery and music at a rapid pace. I think its important to connect with simple things in life and carefully choose who you follow.
9-Can you become one part of the cultural movement for motivation in youth or new generation in your country and so than?
.I believe the fashion system needs to be reinvigorated even prior to Covid-19. Covid-19 forced an industry that was originally unsustainable to re-evaluate its existing processes. We should be questioning if all seasons and the segregation of gender are even necessary. I don’t want to succumb to the mantra of breakneck seasonal designs. Instead, I want to align my approach to a unique process - one that is measured, cerebral, and meaningful.
10-How can you help our world become a better place to live?
.This is a question I often ask myself. I think the answer to this question is evolving for me. Personally, I would like to educate myself more by seeing, listening and standing with others - and practicing kindness and compassion. I also try to implement small daily changes to lessen my environmental footprint and improve my mental wellbeing.
Professionally, I can see the world is currently inundated with clothing in a system that is not sustainable. Your creative decisions come with consequences and it is important to be aware of these. I endeavor to help and support local creative and craftsmen by sharing knowledge as it is important that creative industries support each other.
11-Have you more word to say or suggest for our readers?
.Thank you! Consumers should re-establish a relationship with fashion. Fashion is not about current trends. It’s something personal that comes from within - an outward expression of yourself. Consume mindfully & selectivity - connect with your clothing.
