inbal heffer: Handcraft isn’t just technique, it’s a way of thinking, feeling, and staying connected.

Can you tell us a bit about your journey into fashion design and what led you to study at Shenkar College?

For as long as I can remember, I’ve loved working with art and craft. I spent years painting, dancing, and exploring different materials as a form of expression.

My first exposure to fashion came through my grandmother. Every time I visited her, the Fashion Channel was on, and she had stacks of Burda magazines I used to flip through. When I was ten, she taught me how to knit - and that opened a whole new world for me.

The idea that a simple thread could become an imaginary garment answered my need to create, design, and dress the way I wanted.

So I always knew this was what I wanted to do, which eventually led me to study Fashion Design at Shenkar College.

What inspired you to focus on craftsmanship and natural materials during your studies?

From my very first project at Shenkar, I felt an intuitive pull toward natural materials. They feel alive - carrying warmth, memory, and an imperfect kind of beauty.

Growing up in the Galilee, surrounded by fields and forests, I learned to see beauty in textures shaped by nature and time.

During my studies, I felt a growing need to create through touch and materiality. Working with raffia, straw, rattan, silk, wool, and cotton allowed me to make garments that breathe - each with its own rhythm, scent, and story.

My father is a glass artist and my mother works with mosaics, so I grew up surrounded by craft. From a young age, I was encouraged to explore, to touch, and to experiment. That taught me that handcraft isn’t just a technique - it’s a way of thinking, feeling, and staying connected to what I create.

Your collection is described as a “dialogue between sea and field.” How did you translate that concept into garments?

The “dialogue between sea and field” came from moving between two landscapes - the Galilee, where I grew up among mountains and open fields, and Jaffa, where I now live by the sea.

Both looks are a tribute to nature’s harmony.

I created a raffia corset with hand-knitted sides made of straw and raffia, paired with a silk organza skirt that I hand-dyed and pleated to reflect the movement of wind across the fields.

The menswear look is a 360° patchwork suit made of denim and wool, where each seam connects seamlessly, forming flowing lines that remind me of waves and the infinite sea.

Made entirely from natural materials, these pieces reflect my deep connection to nature and craft.

The raffia and rattan corset with hand-knitted sides is such a unique piece. What challenges did you face in working with these materials?

Working with raffia and rattan was both inspiring and challenging.

I treated the raffia and straw like regular knitting yarns - knitting and shaping them according to my pattern.

Since straw is a natural material, I first had to connect it into one long thread before starting the work.

Rattan, being more rigid, was placed in the front and back panels of the corset - areas that require structure and stability.

The main challenge was combining these different materials - the woven, structured rattan with the hand-knitted raffia and straw, which are softer and more flexible.

In the end, I joined everything together with hand stitching, balancing structure with natural movement.

The silk organza skirt you created was hand-dyed and pleated. Can you share more about the process and what you hoped to capture through it?

For the silk organza skirt, I began with a natural cream fabric and divided it into four large pieces.

Each one was hand-dyed at home using natural dyes - yellow from mint, green from sage, and pink from hibiscus.

After the fabrics dried, I cut and joined them diagonally to form four flared panels.

Finally, I pleated the entire skirt softly, so it reflects light and movement - inspired by the wind passing over the fields.

Your menswear look, the 360° patchwork suit, draws inspiration from horizons and the sea. How did you develop that idea?

The 360° patchwork suit was inspired by the infinity of the sea - its depth, rhythm, and constant motion.

I wanted to translate that feeling into tailoring, creating a continuous flow around the body through layers of denim and wool.

Each seam connects to the next, forming an endless line that echoes waves and tides.

The visual language drew inspiration from David Hockney’s sea paintings and the denim artist Ian Berry, who inspired me to build my own collage through fabric and craftsmanship.

How do you approach balancing aesthetics with functionality when working with unconventional natural materials?

When I work with natural materials, I begin by observing and touching them - learning their texture, flexibility, and rhythm.

I believe every material has its own logic and character, so I let it guide the process instead of forcing a fixed idea.

From there, I move into research and experimentation - testing techniques and forms to discover how each material behaves and what it wants to become.

Through multiple trials, I refine the design until I reach a shape that feels natural yet precise - balancing beauty, movement, and functionality.

Nature clearly plays a central role in your work. How has your environment in Israel influenced your creative vision?

Nature has always been a central part of my life and creative vision.

I grew up in the Galilee, surrounded by fields, hills, and people who live and work close to the land - an environment that shaped my sensitivity to materials, textures, light, and natural rhythm.

It taught me to notice small details and to value processes that take time.

Later, moving to Jaffa exposed me to a different kind of nature - the sea, the humidity, the colors of the city, and the mix of cultures within a vibrant urban setting.

This shift - from the quiet landscapes of the north to the coastal city - continues to influence my work, which moves between organic and structured, calm and dynamic, traditional and contemporary.

Sustainability is a growing conversation in fashion. How does your work with natural materials connect to this dialogue?

For me, sustainability begins with awareness - of material, time, and touch - but it’s also about preserving a way of thinking and creating.

Through curiosity and ongoing handwork, I developed a deep connection to craft and to working with natural fibers.

Using raffia, rattan, silk, and wool allows me to design in a slower, more intentional way - reconnecting to traditions that value patience, skill, and respect for the process.

Instead of mass production, I focus on craftsmanship, durability, and emotional value - creating pieces that carry meaning, not just trend, and are meant to last both physically and emotionally.

Craftsmanship requires patience and detail. What have these processes taught you about design and about yourself?

Handcraft taught me to understand materials deeply - their limits, flexibility, and behavior.

Working slowly and directly with my hands helped me learn control, precision, and structure.

It also taught me patience - to trust the process, to correct, and to improve with each attempt - and it opened space for discovery, where I can explore and create new combinations of materials and techniques.

The balance of intuition, precision, and curiosity has shaped my design approach, allowing me to create pieces that feel both thoughtful and alive.

 Looking back, how did these particular looks shape your identity as a designer?

These looks helped me define and develop my identity as a designer - they represent the moment I began to build my own language.

Through them, I learned to combine concept and craftsmanship, tradition and innovation, and to translate personal stories into contemporary design.

They showed me that my strength lies in handcraft, in trusting the material, and in letting emotion and memory guide form and structure.

Through this process, I continued to evolve my visual language, which eventually led me to create my graduate collection - exploring the contrasts between city and village life through materials such as straw and leather.

What do you hope people feel or take away when they experience your work?

I hope people feel a connection when they see my work - to the material, to the story, and maybe to themselves.

Everything I create is made by hand and with intention, and I hope that comes through.

For me, fashion is a way to express something honest and real.

If someone can feel that, even for a moment, that means a lot to me.

Modeling Agency: Brick Personal Management @brickmodels

Photographer: Benny and Matan @bennyandmatan

Model: Nastiaruk_ @nastiaruk_

Model: Jonah Kozlovsky @jonah_kozlovsky

Makeup Artist: Noa Ziv @noaziv_hairstyle.makeup

Agency: Yuli Group @yuligroup_

Fashion Designer: inbal heffer @inbalheffer