Profile: Amit Yanai – Only Natural Design Competitions

Amit Yanai

Shenkar College of Engineering, Design and Art

My name is Amit Yanai, I’m a third-year fashion design student at Shenkar College of Engineering, Design and Art, based in Tel Aviv. My inspiration consistently comes from art works - paintings, sketches, sculptures, and more. I’m fascinated by the idea of translating a work of art into a garment, giving it new life and form. Over time, I’ve realized I’m especially drawn to interpreting moments—whether it's the expressive quality of an impressionist painting, the energy in quick sketches, movement in sculpture, or the quiet poetry of street photography. Even natural events, like a sudden change in weather or light, can spark something in me. I believe inspiration should never be forced—it must come from a natural, sensitive, and authentic place. I love paying attention to the small details that shape a garment - the cut, the stitching, the gesture of a seam. I’m drawn to designs that appear soft and delicate at first glance, but reveal complexity and intention upon closer look. Like the dress in this project, where every cut is different and no two panels are the same. This asymmetry is what gives my designs their quiet strength. I try to create balance through imbalance. Alongside my studies, I work as a creative stylist for fashion and jewelry brands. I also illustrate fashion sketches for bridal boutiques and other labels. Between semesters, I design, sew, and sell accessories through my Instagram page. Last year I created and sold handmade bags; this year I plan to continue expanding my line with leather bags and limited-edition clothing pieces.

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DYNAMIC OBJECT

Category: Apparel

Competitions: Fashion Competition 2025

The inspiration for my collection began with the 1966 flood in Florence—a natural disaster that swept through the city, destroying thousands of artworks, peeling away layers of paint, warping canvases, and washing away sculptures, books, and jewelry. These objects underwent a dynamic transformation—from still, preserved museum pieces to being displaced and eroded by water and mud. I was fascinated by how a static object can become dynamic—suddenly full of movement and meaning. I brought this idea into my own world, thinking about how jewelry behaves: tangling, disappearing, breaking, or getting caught in clothing. Delicate objects take on new roles when disrupted. The project bridges a historical disaster with a contemporary, everyday perspective: the spontaneous visual of a bag spilling open, scattering its contents across the floor—unplanned, chaotic, and deeply human. Using leather was a crucial part of the process. I explored cutting into it, exposing its rougher, less polished sides, and combining sheets in various shades. The material gave me structure and strength where I needed it—and softness, weight, and collapse where I wanted the design to fall naturally. I also drew inspiration from kinetic art, particularly the mobiles of Alexander Calder—structures that respond to wind and gravity, designed with precise balance but appearing light, spontaneous, and in motion. Like still objects caught mid-shift. In the design, I wanted to evoke curiosity. I contrasted sharp, body-hugging cuts with rounded, relaxed seams to create an asymmetrical, effortless silhouette. Every detail was intentionally designed, yet the final result feels organic—like something that just happened. I aimed to create a sense of static movement in the garment. Elements appear caught, gathered, or drooping—suggesting quiet motion frozen in time. The silver detail in the dress was inspired by jewelry snagged in fabric. It looks fragile, yet acts as if it’s pulling the dress inward—tension and delicacy intertwined.