Noa Levin
   4
Alhama de Granada

Current Address
(1) 917.365.7486


info@noalevin.com







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   I always liked clothing and garments. One of my casual games, as a little girl, was dressing up. We had a huge old wooden box full of dresses and accessories and I was my own stylist. I dressed up my dolls and some neighbor girlfriends.
   It is a profession that runs in my family for a few generations. My grandparents on my Mom's side were both professional tailors. Grandpa was working for the Red Army of Russia. He was making suits for Generals and later on to the aristocracy of Havana, Cuba, where the family moved to between 1923 to 1926.
   Grandma was an experienced costume maker as well. She was in this field from the age of 9. She used to do 'Made to Measure' high-class costumes in Poland and later in Havana from the mid twenties till the end of the forties. That was before Fidel's times, when Havana was more like Las Vegas today.
   Luckily, I for years stayed a lot with Grandma , through all my childhood in fact. Without noticing, my mind captured a lot of information and learned very much watching her while at work. Only later on, when I also turned it into a profession I realized how valuable this had been. When I encounter a problem either in design, cutting a prototype, or when at the machine, staying on it for a while seeking a solution, suddenly I reveal a nice way out which has been there with me since those years with Grandma. I feel I was unusually lucky to wear dresses she made especially for me, and I could tell already then, the difference between industrial products to a quality dress 'made to measure'.
   This neat observation is why I always have difficulties in finding what I like in dress shops and the reason my first skirt came about, when I was 15.
   Beauty always attracts and impresses me in nature, art, music and in other human fields of design. I was always surrounded with a family who had style, beauty, and elegance. I mean my aunts and uncles where all very well dressed.
   Hanna, my other grandma was also a very well dressed lady. Whenever I visited her, the young girl who I was, she generously opened her shoes wardrobe, so that I could take a look and try them. She had no less than 25 pairs of elegant shoes in there, and I was celebrating, trying them all on.
   My father Chaime, had what we call 'golden hands'. He was a brilliant welder and a great designer without calling himself so. Every object that he made, like those garden benches and signs to the Kibbutz's courtyard, or food wagons to the dining hall, all were extremely esthetic, cleverly made and easy to use. He occasionally took me with him to his workshop and was patiently explaining what he was doing while working and I was watching. No doubt, my father was a highly professional. He loved challenges, new inventions, new tools and most of all - he loved people.
   He was the one who taught me the most during my childhood. Additionally the Kibbutz enabled me earn enough experience with whatever fascinated me. I was playing cello. I was painting and sculpturing and was good enough to eventually decorate the big dinning hall on the Kibbutz's fests.
    My mother also influenced me a lot. She is a cosmetic, manicurist and pedicurist. Esthetics, precision and efficiency are in her character. My mom is also very good in public relations and taking care of everybody. I believe I follow her in these respects. It contributes to my high quality of performance and to the understanding of your personal dream of appearance.
   One day when I was 18, I bought myself a present - my first sawing machine. The funny tiny tool was wrapped in a black suitcase and with it I started gaining real experience in sawing. For a start I covered all needs of the house and of myself. I was really hungry for creating all those new things. I even made my first "Sombrero" on that little machine.
   Later I received another present - that was an industrial Singer, and with it I made my first designed bag. Some saw it and wanted too, and this is how I found myself making series of Cannabis bags. There were pockets in it of different sizes, a useful article where you can keep and easily find all the little bits and pieces.
   Then, my little daughter was my first model for children cloth and through her childhood she always wore comfortable and beautiful dresses that I made especially for her. I do it until these days, for her and for my two young granddaughters.


Taller 'ArteModa' - Los Boliches, Costa del Sol, Spain 2002

   When I was 28, I joined an interior design shop and run the factory. We made decorative cushions, runners, curtains, bed covers, etc. The key theme was patchwork and it dominated the entire style. Patchwork was very fashionable at that time. We were combining glamorous Bedouin embroidery with Damascus fabric and Indian velvet.
   Also when there, I was encouraged to develop my own design from the drawing pad till the complete product, and for the second time, I realized how people like what I do and clients bought my newly made products like hotdogs. I stayed working there for 5 years and eventually the experience I gained was precious.
    I was 32 when I took a 3 years course at the - - Shenkar College of Engineering and Design - -, wishing to be able to make any pattern I fancied in the future. Those 3 years made this dream come true.
   I studied pattern making, FREE PATTERN , industrial sawing and fashion painting. Immediately after I got the diploma and in order to get the final touch and first exposure to the world of fashion, I joined a confection factory as a pattern maker. Besides making the patterns for that firm, I was also involved there in export of women cloth to Switzerland, Germany and to the United States.
    For a period of a year, I gained experience in the entire process of confection. I was taking part in the imagining and the design of a new collection. I made the proto types, that is: grading, spreading up the fabrics and cutting, plus the international export. I stayed for a few months in every department and learned how the whole factory works. In the end of a year, I knew beyond doubt that fashion would be my profession.
    From then on, I did whatever I could, to learn more and more about it. I gathered information and knowledge while working in quiet a few directions. I also realized that confection is not right for me, and that I’d better follow my own ideas. Yet, to see how a designed dress really comes out, I ought to perform the proto type by myself.
    My nature of work relates to my need for direct contact with people, the human contact brings both the client and myself to the common ground where we are both satisfied of a new designed item. Then all my items are somewhat innovative, and last is the direct personal feedback, which is essential to my well being, and the love I have for people combined with my determination to make them feel good.


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