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A fashion show in Tribeca attempts to capture ‘The Jewish Uniform’
(New York Jewish Week) – Hip-hop music blasted through loudspeakers as about a dozen models strutted up and down a makeshift runway. Some of them wore cream knit loungewear, while others were clad in modest but elegant dresses accessorized with silk scarves.
The models, many of them student volunteers from Chelsea’s Fashion Institute of Technology, were donning “The Jewish Uniform,” at least as defined by the minds of Havurah, a cohort of self-described “frum” (religiously observant) New York-based 20-somethings aspiring to create a “renaissance of Jewish art.” In addition to the fashion show, Havurah has hosted readings, Torah study and concerts, and the group recently launched “Verklempt!,” a Jewish literary magazine.
Last Thursday evening, “The Jewish Uniform” highlighted 13 Jewish designers whose levels of experience ranged from amateurs to well-established brands like Batsheva, whose signature modest dresses and ultra-feminine womenswear first made a big splash in 2016. Directed by Havurah co-founders Daniella Messer and Eitan Gutenmacher — both 20-year-old students at New York University — the show’s looks were curated by Ashley Finkel, a 26-year-old e-commerce coordinator at La Perla and styled and staged by Lily Paige Sausen, 26, who runs an online vintage store.
Havurah’s motive is to create Jewish art and to understand the intersection of art and Judaism. The fashion show, in particular, aimed to celebrate and explore what makes an outfit Jewish — at least through an observant lens.
Ashley Finkel, left, one of the show’s curators, speaks with designer Elke Reva Sudin, May 11, 2023. (Saul Sudin)
“The intention of the show was to use fashion as a medium to bring together a community of creatives in NYC,” Finkel told the New York Jewish Week. “We’re very happy with how the evening turned out.”
Around 120 people attended the show, which took place in the outdoor space underneath the bulbous curve of the architecturally unique Tribeca Synagogue (49 White St.), an Orthodox congregation. The downtown neighborhood is now known for its hip loft buildings, but it was once a center of the textile and cotton trade industries in the 19th and early 20th centuries.
The show’s creators, from left to right: Eitan Gutenmacher, Daniella Messer, Lily Paige Sausen, Ashley Finkel and Kayla Mantell, at the show on May 11, 2023. (Julia Gergely)
“I thought it was really cool to be able to show my looks in a Jewish show,” said Yarden Sopher-Harelick, a 24-year-old designer and FIT graduate who had three outfits in the show, including a blazer dress fashioned out of bubble wrap and a seatbelt.
Batsheva Hay, the Orthodox designer who runs the eponymous brand, donated four dresses to the show, though she wasn’t able to attend herself.
Each “Jewish Uniform” runway look had a tongue-in-cheek title and description that was presented in an accompanying program for the show, allowing the creative directors to build on their thesis about what makes an outfit Jewish — and to poke some lighthearted fun at Jewish customs as well. Take “The Yenta,” who wears a white blouse, pearls and a long black skirt: “She attends shul for one purpose: the tea. It’s piping hot, just like her outfit,” the program read.
The “Shabbat Snoozer” — a loose, comfortable, matching set in navy — was described as “the classic combination of a food coma and a few hours to spare before Havdalah,” while the “Cholov Yisroelnik,” described as “the kosher version of a milkmaid,” consisted of a headscarf, a pink gingham skirt and white top, with the model carrying a carton of milk instead of a clutch.
For first-time model Tara Dietzel, an 18-year-old first-year student at FIT, walking in the show and seeing clothes designed by Jewish designers was a way for her to envision how she might combine her Judaism, her love of modeling and her professional goal to become a fashion designer.
“It was so much fun and a good first step to figuring out how I can accomplish all of these dreams at once,” Dietzler told the New York Jewish Week after the show.
Tara Dietzler, left, models a design from Yarden Sopher-Harelick, right, May 11, 2023. (Julia Gergely)
Guests included many of the designers’ friends and family, who cheered enthusiastically as their models walked the runway. After the presentation, everyone came together over wine and seltzer. The designers posed with their looks and models walked through the crowd to show off their clothes’ texture and details up close.
At the event, Elke Reva Sudin, a Brooklyn-based designer and painter, launched “The Crown Collection,” a limited collection of silk head scarves. Nearly a decade ago, Sudin ran a similarly-missioned organization to Havurah called Jewish Art Now before founding Drawing Booth, a non-Jewish arts vendor where artists live-sketch guests at events. The scarves are her first foray into fashion.
Elke Reva Sudin, middle, stands with two models who donned her new line of headscarves, the Crown Collection, May 11, 2023. (Saul Sudin)
Sudin said that designing scarves — an item popular among Orthodox women, most of whom cover their hair after marriage, as per Jewish law — was a way for her to explore her own Jewish identity and spirituality as a married Orthodox Jewish woman. She found out about Havurah through a mutual artist friend.
“I’ve been out of the Jewish world for a while now and I appreciate that there was a Jewish space I could turn to launch my scarves, which are sort of my return to Jewish art while entering into the world of fashion,” Sudin, 35, told the New York Jewish Week. “Both my designs and Havurah have the same intent, which is to be inclusive and to create something not only beautiful, but meaningful to the Jewish community.”
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50 years after the Dirty War, Argentinians remember the Jews who ‘disappeared’
(JTA) — BUENOS AIRES — As Argentina marks the 50th anniversary of the 1976 military coup, a lesser-known aspect of the dictatorship is gaining attention: the disproportionate number of Jews among the disappeared.
Estimates suggest that as many as 1,900 Jews were abducted, tortured and murdered by the military junta during the six-year Dirty War, when many sources say 30,000 people were disappeared. Depending on the source, Jews represented 5% to 8% of the total, even though Jews made up less than 1% of Argentina’s population at the time.
That grim history is being explored in educational initiatives by Argentina’s Jewish community, aimed at younger generations and focused on understanding how the dictatorship operated and the disproportionate suffering it inflicted on Jews.
“The Jews were subjected to a particular form of treatment that resulted in greater brutality on the part of the repressive forces,” according to a new curriculum released by the education department of AMIA, the Jewish community center in Buenos Aires. “The experience of Jewish Argentines who were victims of state terrorism was marked by a strong antisemitic imprint among many members of the task forces.”
The AMIA project includes meetings between Jewish youth and relatives of the Jewish “disappeared,” as well as visits to memorial sites. Some 1,000 students are expected to take part this month.
A parallel digital project, Eduiot (“Testimonies”), documents the stories of Jewish victims of the military dictatorship and includes meetings between relatives of the disappeared and high school students.
The materials rely on personal testimonies to explain the human impact of the dictatorship and to put individual stories in the broader historical context.
Eduiot includes the story of Fernando Ruben Brodsky, a 22-year-old student who disappeared in 1979, including accounts from relatives who continue to seek answers. His mother, Sarah Brodsky, shares accounts of her son, a psychology student and kindergarten teacher who was abducted from his home on Aug. 8 and never seen again.
The testimonials relate how security forces subjected Jews to antisemitic abuse when they were kidnapped or detained, including Nazi language and symbols and “special” interrogations reserved for Jews.
The anniversary comes amid renewed debate over how Argentina interprets the dictatorship. President Javier Milei’s government has called for a broader account that also includes victims of left-wing guerrilla violence, which some suggest is a way to minimize the crimes of the dictatorship. Milei and other voices close to the government have also questioned the 30,000-victim figure, promoting a lower number (often 9,000).
Under the junta, the military and state security forces targeted suspected left-wing sympathizers, including students, unionists, journalists and activists.
In 1979, Jewish advocacy groups such as the Anti‑Defamation League expressed grave concern over the disappearances, focusing on the Jewish victims, and Jewish families in Argentina and abroad helped compile lists of the missing. According to an ADL official at the time, “Jews are not specifically targeted as Jews. However, the security agents tend to be suspicious of Jews.”
The best-known Jewish target of the state was journalist Jacobo Timerman, who published a left-leaning newspaper, La Opinion. In 1977, the generals who ruled Argentina shut down the paper and imprisoned Timerman. Among other things, Timerman was accused of masterminding a plot to establish a Jewish homeland in the remote Patagonia region of southern Argentina.
He survived, and in his 1981 memoir, “Prisoner Without a Name, Cell Without a Number,” he recounted how he was subjected to torture during his 2 1/2 years in confinement.
According to Eduiot, Jewish advocacy for the disappeared “proved effective in bringing early attention to human rights violations.” The U.S. Congress launched investigations, and in a 1978 article in Le Monde, novelist and Holocaust survivor Marek Halter compared the persecution of Argentine Jews to Nazi-era atrocities.
The Eduiot site includes photographs and audiovisual material, and features the accounts of parents, siblings, cousins, nephews and nieces of Jews persecuted and disappeared under the dictatorship.
“Because every testimony matters and holds great value,” according to its website. “Because these dark episodes of our history must never be repeated, and because we want each of the disappeared to have a space of remembrance on this site, helping families sustain their memory and uphold the call for justice.”
The post 50 years after the Dirty War, Argentinians remember the Jews who ‘disappeared’ appeared first on The Forward.
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Fortnite tops ADL’s new ‘leaderboard’ ranking video games on antisemitism safeguards
(JTA) — The online video game Fortnite tops the Anti-Defamation League’s “leaderboard” ranking online video game companies on their efforts to curb antisemitism and extremism on their platforms.
The Online Gaming Leaderboard, which the antisemitism watchdog billed as the “first comprehensive public evaluation” of how online multiplayer games address antisemitism, ranked 10 popular online games based on safety features, moderation, player protections and written policies meant to address antisemitism and hate.
Fortnite was followed at the top of the rankings by Grand Theft Auto Online, Call of Duty and Minecraft. Games labeled as having “limited protection” by the ADL included Counter-Strike 2 and PUBG: Battlegrounds.
Madden NFL, Valorant, Clash Royale and Roblox, a collaborative computer gaming platform for children as young as 7, were ranked as having “moderate protection.”
“Without strong safeguards, these platforms can become breeding grounds for harassment and hateful activity that harms players directly, normalizes hateful ideologies and damages trust,” Jonathan Greenblatt, the CEO of the ADL, said in a statement Wednesday. “This leaderboard provides the transparency that parents, gamers and the industry need to understand where companies are succeeding and where urgent improvements are necessary.”
The leaderboard’s release coincided with a landmark Los Angeles jury verdict finding Meta and YouTube liable for harming a young user through addictive design features.
In the virtual worlds of online gaming, players have posted abusive messages in chats, created antisemitic imagery and even given themselves bigoted usernames.
While Fortnite ranked first, the popular online game has also previously faced scrutiny over allegations that it enabled antisemitic content. Last September, it disabled a character dance feature after users said its gestures resembled a swastika.
Roblox, which has long faced criticism over content moderation, has also been the subject of controversy, including in 2022 when it removed a user-created simulation of a Nazi gas chamber. In the wake of the Oct. 7 attacks in 2023, the Israeli government also urged users to report pro-Palestinian activity in the game that it said included antisemitic content.
The post Fortnite tops ADL’s new ‘leaderboard’ ranking video games on antisemitism safeguards appeared first on The Forward.
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Iran Posts AI Video Showing Missile Striking Statue of Liberty
An Israeli air defense system intercepts a ballistic missile barrage launched from Iran to central Israel during the missile attack, February 27, 2026. Photo: Eli Basri / SOPA Images via Reuters Connect
Iran on Tuesday released an AI-generated video depicting a missile striking the Statue of Liberty in New York Harbor, a global symbol of American freedom and democracy, in one of the regime’s latest propaganda efforts to influence public perception abroad.
Shared by Iranian state broadcaster IRIB as well as a Telegram channel affiliated with the Islamic Revolutionary Guard Corps (IRGC), the minute-long video ends with the slogan “One vengeance for all.”
IRGC Official Telegram Channel Releases AI Video Depicting Iranian Ballistic Missile Strike on United States, Hitting New York City and Toppling Statue of Liberty Shown as Idol of Baal Holding Babylonian Talmud pic.twitter.com/JhgNgHW2Zz
— MEMRI (@MEMRIReports) March 25, 2026
The video was also circulated by Russian state outlet RT, in what appears to be a stark and symbolic threat against the United States.
‘ONE VENGEANCE FOR ALL’ — Iran ‘bombs’ the Statue of Liberty WITH THE HEAD OF BAAL pic.twitter.com/6tPH15fqkZ
— RT (@RT_com) March 25, 2026
Since the start of the US-Israel war with Iran, which began on Feb. 28, Iranian officials have ramped up their propaganda and disinformation efforts, trying to portray Washington and Jerusalem as responsible for decades of regional conflict while seeking to influence left-leaning Americans to mobilize domestic opposition to the war.
This latest widely circulated video presents a striking sequence portraying the United States as the world’s enemy, drawing on imagery from the dispossession of Native Americans and the atomic bombings of Japan to the Vietnam War and more recent Middle Eastern conflicts to craft a sweeping narrative of American aggression.
The clip also features footage alluding to a child on Jeffrey Epstein’s private island — a recurring theme in Iran’s messaging used to suggest that US President Donald Trump launched the current war to distract the public from the Epstein scandal, in which the late financier was convicted of running a sex-trafficking ring involving underage girls and, allegedly, various influential figures.
Later in the video, AI-generated figures of Iran’s former Supreme Leader Ayatollah Ali Khamenei and the late Iranian Major General Qassem Soleimani are shown gazing skyward. Khamenei was killed in an Israeli airstrike on Feb. 28, and Soleimani was killed in a US drone strike in 2020.
The final sequence of the video depicts a missile in Iranian colors striking the Statue of Liberty in New York Harbor, whose head has been replaced with that of Baal, a false god from the Bible, while the statue holds the Talmud, a key collection of Jewish religious teachings and laws.
This video is the latest example of AI-generated propaganda released since the start of the war with Iran.
Last week, Chinese state television CCTV released a separate AI-generated clip illustrating Beijing’s perspective on the Strait of Hormuz crisis, featuring Persian cats in martial arts combat and an eagle-headed human representing the United States.
Experts note that Russian dissemination of Tehran’s video reflects a broader coordinated effort to use visual propaganda to challenge US foreign policy and influence global perceptions amid rising regional tensions.
The latest video came as the US and Iran began engaging in diplomacy over a possible resolution to the war, although Tehran has reportedly responded negatively to Washington’s proposal.