MOḌA: from kaftan to streetwear

Left: Laila Hida and Artsi Ifrach, Looking for me #3, 2014 © Laila Hida and Artsi Ifrach
Right: Laila Hida and Artsi Ifrach, Looking for me #5, 2014 © Laila Hida and Artsi Ifrach

Common thread
The theme in the first room is Monumental. You see voluminous dresses and robes on metres-high plinths, and a massive installation hanging from the ceiling. This is the start of the long row of family photos of both makers and visitors, which runs through the exhibition like a common thread. ‘The manufacturing culture is huge in Morocco,’ Zineb explains. ‘There’s always an inspiring family member who makes their own clothes or is elegantly dressed. In our meetings with artists, we noticed that their relations, particularly grandmothers, were often seen as a muse.’

MODA shows the important role that craftsmanship plays in Morocco. Take the installation by Said Mahrouf: we see a dress emerging from a loom, made together with one of the few gold brocade weavers in the world. Hassan Hajjaj has transformed another room into a saloon, inspired by the saloon in Moroccan houses. In the room with the title Going Global in the Local, manufacturers and makers voice their opinions about the interaction between local and metropolitan culture. An audio tour, book and programme of workshops and fashion shows form part of the exhibition, all arranged in association with organisations including Le Guess Who? and BOKS Youth Culture House.

Why was it important to work on this exhibition?
‘Ninke told me about her idea during the European football championships, when Morocco was performing on the world stage. I loved seeing the pride and unity this created – it transcended national borders. In a polarised world, it’s important to stay open and curious about each other. We have more in common with each other than we think. In MODA, we’re showing underexposed stories of makers from the diaspora with roots in the Caribbean, the African continent and Asia. I see it as a new window to the world and to the future.’

Left: Merrachi, Diary of a CEO, F/W, 2023, model: Ikram Abdi, photo: Casper Bijmans © Merrachi
Right: Joseph Ouechen, Street photography © Joseph Ouechen

How did you choose the work for the exhibition?
‘We’re bringing together more than forty game changers who are redefining fashion. Moroccan culture cannot be captured in one image or sentence – it is layered, complex and constantly changing. We felt it was important to emphasise the multitude of different perspectives. In addition, we wanted to show the power of female makers, because we need more positive examples for a younger generation to look up to. Like Nada Merrachi and Ilham Mestour. And Tamy Tazi. You often hear Tamy’s name only because of her close friendship with Yves Saint Laurent, but we are focussing on her own story. Tamy is an icon herself. In the 1960s, she revamped the Moroccan kaftan with new embroidery styles and techniques. We also made sure there is a good mix of generations of makers from Morocco, the Netherlands and Utrecht.’

What do you hope that visitors will take away from the exhibition?
‘I want visitors to interpret it as they see fit. But there’s a good reason for calling this exhibition ‘Moroccan Fashion Statements’. It’s bursting with pronounced and subtle messages. For example, Maison ARTC has designed a beautiful cape (silham), dyed with natural henna powder. It also features evil eyes to protect from “evil”. The work features the word ‘Love’, which perfectly suits the uniting message of the exhibition. I hope that MODA will encourage reflection, broadens horizons and helps people share stories from all over the world.’

MOḌA. Moroccan Fashion Statements is a collaboration between DAR Cultural Agency and Centraal Museum Utrecht. From 3 October at the Centraal Museum.