As a little boy who grew up in Bukharan neighborhood in the city of Samarkand, Uzbekistan, I heard stories about my great grandfather who embarked on a  journey to the Holy City Jerusalem in the Promised Land. But he was not the only one doing this trip, in fact, it was tradition that its buds appeared in the end of the 18th century, when Rabbi Maman arrived to east, searching for jewish tribes and livened Zionism among the Jews of Bukhara. The journey made as part of the commandments of the three pilgrimage festivals, and since there was no trains it lasted six to ten months on a horse and cart, made mostly by men.

Following the preparations for the journey, this became a some kind of ritual, in which men took with them their fine clothes and textiles so they could trade it for goods and food to survive this dangerous journey through the silk road.

I combined this tradition with works of art of Kehinde Whiley, an African American artist who painted and photographed Africans in classic poses that mimic Renaissance works. Whileys saturated works combined with Eastern ornamentation, dictated the patterns, silhouettes and colors of the collection. All prints and ornaments created of deconstruction and reconstruction of the Hebrew alphabet and Jewish symbols, in order to give cultural expression of Judaism and to create a new definition to Israeli fashion.