Tadelakt is an elegant lime coating typical of Marrakesh that is characterised by its bright colour and its impermeability.
Its unique finish is achieved by rubbing it with a pebble and olive oil soap.
Beyond its beauty and elegance, tadelakt is a symbol of the aristocratic culture of North Africa which, thanks to the development of research, has spread thanks to its traditional and warm spirit and its many colours and its versatility in different styles.
It can be used both indoors (especially in bathrooms and floors, a thermal comfort that regulates both temperature and humidity and has fungicidal properties that limit the development of fungi) and outdoors and has inspired new building materials such as micro-cement.
This ancient technique is also used to make Moroccan ceramic vessels.
Baya Mahieddine, better known as Baya, is one of the most important post-war Algerian artista. Orphaned at a Young age, she was adopted in 1942 by the French artista, intelectual and colletor Marguerite Caminat Benhoura, who stimulated Baya’s artistic development and taught her to Paint. This edition of Derrier le Miroir was published to accompany Baya’s first solo exhibition, at the influential Galerie Maeeght in Paris. Baya was 16.
Baya is often described as an outsider, a child artist “discovered” by art dealer Aimé Maeght and “taken under the wings” of intellectuals and artists such as André Breton, Jean Dubuffet, and Pablo Picasso. In Derriére le miroir Baya is described as “la petite orpheline”, the little orphan. The colorful, magical world of her paintings would seem to confirm this view of her. But recent exhibitions and books show her to have been a determined artist who consciously chose and developed her own style.
She painted women, birds, fish, and plants in bright shades of blue, red, and yellow, frequently including patterns. The Algerian writer Assia Djebar sees the eyes as the key to understanding Baya’s artistic intentions: “Baya’s woman fixes her giant eye, wide open, on flowers, fruits, the sound of the lute and the guitar, the complicit birds, the fish in the bowl, a child perched on the head or shoulder of the hostess who is conversing with a palm tree … [Bayal, the first in a string of sequestered women whose blindfold suddenly fell from their eyes.”
In 1953, Baya returned to Algeria, married, had children, and stopped painting for nearly ten years. Was she preoccupied with her family, or was it because of the bloody war of independence that raged until 1962? Whatever the case, after independence she reappeared, painting again and exhibiting her work. In 1967 Baya also signed the manifesto of the group Achouem (tattoo), which called for the reassembly of “artistic elements invented by the civilizations of the Third World” to -give expression to “the new Algerian reality”.
Unknown protagonists silenced by official sources, the Berbers (or Imazighen, as they prefer to be known) are the group of peoples who since ancient times occupied almost all of North Africa, from the Siwa oasis (west of Egypt) to the Atlantic Ocean, including the Canary Islands, and from the Mediterranean to the south border of the Sahara.
Throughout history they have gone by many other names (Mauri, Libu, Numidians, Gaetuli, Garamantes…) reflecting their internal, geographical, and cultural plurality.
The Imazighen have witnessed numerous migrations, colonisations, and invasions. All have enriched their identity, while reducing their population through assimilationist policies.
However, the Berbers survive. It is calculated that there are currently over 35 million Berber, 20 million in Morocco, while the European and American diaspora account for several million
The Amazigh identity or identities are today reflected above all in their language, TAMAZIGHT, in its different variations (Tarifit. Tashelhit, Tamahaq…). It is also reflected in their awareness of sharing a common legacy of traditions, celebrations, and customs, and finally in their willingness to accept this legacy as their own.
From the late 11th century, major dynasties from North Africa such as the Almoravid (lamțūna) and then the Almohad (masmuda) tried to reunify the Islamic West, reinterpreting Is lam and homogenising and highlighting the Amazigh language ge and culture which became driving forces for Islamisation. However, the influence of the Imazighen did not end there.
At the height of the hegemony of the feudal kingdoms, from the 13th century, a new power came into play, the Marinids. The ties between this emirate with its seat in Fez and that of the Nasrid in Granada were solid, with mutual influences and extensive exchanges. This can be observed in the Alhambra and the major institutional constructions (madrasa, maristan, gates…) but also in everyday ceramic goods. It has even been argued that a Maghrebisation took place in Granada.
The great designer William Morris once said ‘have nothing in your home you do not know to be useful, or believe to be beautiful’ and we couldn’t agree more.
In the age of stripped back decluttering courtesy of Marie Kondo, El Fenn wants to raise the flag for maximalism and colour. It doesn’t means mess but a Morris-inspired collection of the things you love.
That’s why they have curated a selection of products that will allow you to take a small piece of El Fenn back to your own home.
So from crockery to linens, fragrances to books, we believe every product we sell is either beautiful or useful – and hopefully both.
El Fenn shop began life as a few șhelves on the back wall of the reception office.
But in the years since then it’s grown to become one of the biggest draws to El Fenn, known for its eclectic selection of both established and up-and-coming names on the Moroccan design scene.
There are LRNCE products from the potter beloved by the design crowd, stripped back urban luxury fashion courtesy of Marrakchi Life and traditional artisanal home furnishings given a modern twist by the team at Anajam Home.
I have taken the liberty of transcribe the flyer “ABOUT EL FENN” the managing partner Willem Smit recently gave to me. It is the best way to show this Marrakech highlight.
“We call El Fenn a home from home because that is what we wanted to create from the first day we opened our doors fourteen years ago.
Since then we’ve added rooms, knocked down walls, hosted art festivals and film screenings, huge parties and memorable weddings but that one core value of what we’re here to do has remained. Now, more than ever, we want to retain El Fenn’s intimacy and friendliness.
Because our lives are increasingly time poor as the world keeps getting busier. And while we’ve seen Marrakech grow and expand over the years since we opened – donkeys and carts replaced by scooters that buzz and smartphones that ping – the medina is also immutable: ancient, atmospheric and inspiring. We want you to make the most of that while you’re here.
That’s why there are no TVs but instead lots of spaces to relax in. Please do make the most of them to read, sleep or sip a mint tea and listen to the muezzin’s call to prayer as the sun sets.
Then, once your energy levels are reset, we urge you to venture out a little further and see what you find – or finds you – in the beautiful city of Marrakech.
There’s a saying in Morocco that you don’t choose a house, a house chooses you. And we feel incredibly lucky that El Fenn happened to choose us. It is a place that we hold deep in our hearts and it gives us great pleasure to be able to share it with you”.
see more at https://el-fenn.com/
Boho style has its roots in the French Word ‘boheme’ and the artistic bohemian concept.
Boho interior style is rich, versatile, colorful and relaxed, as the life of the nomads discovering new lands.
The colour palette of this style is bright and intense: orange, yellow, purple, ultramarine and fuchsia make the house cheerful and cozy.
A boho-house is magnificently decorated with textiles, draperies, blankets, pillows, bright covers for furniture, carpets, exactly as the nomadic people do.
(1886-1962) Were a French orientalist painter and son of the famous Art Nouveau furniture designer, Louis Majorelle. He arrived in Morocco in 1917, invited by the French Resident-General, Marshal Lyautey. Majorelle was seduced by Marrakesch. In 1923, he decided to live there, purchasing a vast palm grove that would become the Majorelle Garden we know today.
In 1980, Pierre Berge and Yves Saint Laurent acquired the Jardin Majorlele, saving it from real estate developers. Since the, the garden has been restored, and many new plants have been added
The term kilim comes from Turkish and Eastern Persian. It means “covering”. Kilims are flat tapestry carpets woven by passing the weave through the warp; this is one of its uniqueness that determines its design. Geometric patterns are the most common: Diagonal lines mainly forming reversed diamonds and triangles that are spread across the design, by creating a border or following a pattern, some of them with symmetrical patterns covering the entire bottom of the carpet. As well as decorations, colours give an ideal touch to kilims: Maroon, blue, dark brown.
Rugs manufactured by women from the Berber tribes of the Upper Atlas region of Morocco, made from recycled textiles with wonderful colouring in which the female universe is embodied violently and smugly. These highly original rugs are aesthetically very powerful and whose shapes and colours are striking and daring.
The craftswomen do not follow any predefined guidelines or patterns when manufacturing these rugs, rather they improvise freehand without placing any limits on the creative spirit to achieve their goal.
Recycled materials used create a bond between primitive and modern art forms. A genuine canvas of modern abstract art, like a Kandinsky painting displayed without contrivances on the floor.
Until rather recently, these rugs were not traded due to the apparent scarcity of their materials, however, they have begun to appear in western markets as a result of their authenticity and aesthetic worth.
The exotic dramatic quality of Arabic decoration is extraordinary. A means of escape from the industrialised western decoration so overly confused as to what it aims to aspire to in terms of luxury and the limitation of its resources to serialised, repetitive and angular constructions offering furnishings with laboratory materials resulting in simply pale imitations of the past.
Nature, colour, constructive sets, exquisite materials, engaging ambiences, etc. all of these attract us the decoration projected through magazines as samples of a new luxury concept.
However, is Arabic decoration truly Arabic? Contemporary Arabic culture does not offer, except on rare occasions, any of these aesthetic principles. Even its aspiration is to foolishly mock western standards adding a further over-top-touch, ostentatiousness and bad taste.
In truth that sample of an aesthetic universe based on traditional Arabic culture has been recreated by western foreigners (refined and well-to-do foreign with new horizons free from the inherent atavisms of the west).
Even the recovery of traditional trade, handicrafts and pieces form part of this trend. There is still room for many unanswered questions on philosophical, political, anthropological and religious grounds, although there is plenty of time for them to be asked. The idea has been thrust forward; Arabic decoration is in fact European decoration.
It is worthwhile underlining that this is no way conditions the enjoyment and delight we take from a truly fascinating decorative model that is destined to make us reconsider interior design in the west.