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Moroccan Engineering Lab won two prestigious awards at the International Innovation Salon in Toronto, Canada.
Smarti Lab, a research laboratory affiliated with the Moroccan School of Engineering Sciences (EMSI), claimed two gold medals and two prestigious awards at the iCAN 2023 International Innovation Exhibition held in Toronto, Canada.
The lab’s winning invention is called the “Smart Wastewater Treatment Station” (SGWT), which is a “green, and mobile” wastewater treatment station.
According to a statement from EMSI, the innovation addresses a critical global issue and represents a “significant leap forward” in sustainable water management.
The smart wastewater treatment station was in response to the current global water crisis, EMSI said in the statement.
The second medal went to the “Meat Quality Verification System” (SMT), a system that offers a “simple and rapid solution for assessing the quality of various types of meat.”
The solution relies on mechanisms that analyze meat quality using specialized integrated units. The system addresses critical health and safety concerns related to meat consumption, the statement explains.
Over the years, EMSI secured a number of awards for innovation. The engineering school has won a total of 85 awards and medals on both national and international fronts.
Engineers from the school previously participated in international innovation competitions such as ICAN in Canada, Silicon Valley in the United States, the International Innovation Exhibition in China, ISIF in Turkey, Intarg in Poland, and EuroInvent in Romania, among others.
The Canada exhibition was held from August 23 to 26, and it featured participants from 50 countries with over 800 inventions.
Hamza Taouzzale, 22, became the youngest person to hold the office
Serving as councilor offers chance to connect with people left behind by politics, he tells Arab News
At London’s Westminster City Hall, 22-year-old Hamza Taouzzale warmly welcomes us into his dynamic working environment.
The councilor made history in the political heart of the UK last year when he became Westminster City Council’s first Arab and Muslim, and youngest, lord mayor.
He introduced us to his realm of responsibilities, shedding light on the multifaceted nature of his duties. With a passionate demeanor, he delved into the rich history of Westminster and its surrounding boroughs, painting a vivid picture of inspiring local stories.
Taouzzale described his emotions upon learning of the news of his election as a mixture of nerves and excitement. Calling his mother, he recalled her shock, as well as the astonishment of his entire family.
“But for me, it was that pride and that representation to understand that I was going to be the first Muslim, the first person from a minority ethnicity and the youngest ever at the age of 22 to become lord mayor of Westminster,” Taouzzale added.
The role, which he held until earlier this year, involves acting as a community representative, offering a chance to connect with those who may feel disconnected from local politics and decision-making.
Taouzzale emphasized his commitment to engaging with various segments of the community, including schools, youth clubs and care homes, highlighting the need to meet the demands of locals.
Growing up on the nearby Lisson Green Estate, the 22-year-old acknowledged the importance of community support in his journey.
He recalled his initiation into politics at the age of 16, when a youth leader, Tariq, encouraged him to join the local Youth Council.
From there, Taouzzale was elected as a youth MP. That position paved the way for him to later become a Westminster City councilor.
The journey, guided by mentors and a desire to make a positive change, led to his eventual appointment as lord mayor of Westminster in May 2022.
As the first Muslim and Arab in the position, Taouzzale described his background as having provided representation to local communities. He underestimated the impact he would have globally, but gradually realized the importance of his role as a symbol of empowerment and inspiration, especially for young people.
He said: “I had people in my first week from countries I’ve never been to in the Middle East message me on Facebook: ‘I’m so, so proud of you,’ ‘This is brilliant,’ ‘Masha Allah.’
“That sort of pushed me to understand who I was representing. I wasn’t representing just Westminster; I wasn’t representing just my community. I was representing all those people who had never done something that I had been able to do, as a present in the Arab world, the Muslim world,” Taouzzale added.
Through his work, the councilor hopes to encourage others, especially young people, to see the possibilities that lie ahead. He wants to leave a legacy that motivates people to believe that, like him, they too can overcome challenges.
source/content: arabnews.com (headline edited)
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Hamza Taouzzale, describing his political journey to Arab News at Westminster City Hall in London, United Kingdom. (AN Photo)
Morocco currently ranks first totaling a number of 38 medals, with 13 gold, 11 silver, and 14 bronze.
On August 3, Moroccan athletes bagged 6 medals in athletics and 4 in judo on a single day, confirming the Kingdom’s leading position at this ninth edition of the Francophone Games taking place in Kinshasa, the capital of the Democratic Republic of Congo.
In athletics and para-athletics, the women’s 5,000-meter discipline representing the Kingdom conquered the podium with a trio comprising Rahma Tahiri, who claimed the gold medal and set a new competition record with a time of 15 minutes 56 seconds 71 milliseconds.
In second place came Kaoutar Farkoussi with a time of 15 minutes 57 seconds 91 milliseconds, while Soukaina Atanane took bronze with a time of 16 minutes 05 seconds 34 milliseconds.
In the men’s 1,500 meters, the runners Hicham Akankam and Hafid Rizqy won gold and silver recording 3 minutes 41 seconds 08 milliseconds and 3 minutes 41 seconds 89 milliseconds respectively.
In para-athletics, Abdelkbir Jaddi won bronze in the long jump with a leap of 6.30 meters.
In judo, Hassan Doukkali won gold in the under-73 kilograms category, while Chaimae Taibi, Hamza Kabdani, and Ziane Wissal took bronze in the under-63 kilograms, under-81 kilograms and under-57 kilograms categories respectively.
In the same competition event on Tuesday, Morocco claimed three simultaneous medals in the women’s 1,500-meter event.
The three Moroccan athletes who stood on the podium were Wafa Zaroual, Soukaina Hajji, and Rababe Arafi.
Morocco currently has a total of 38 medals, with 13 gold, 11 silver, and 14 bronze, well ahead of second-placed Romania with 25 medals.
This year’s Francophone Games, which runs until August 6, brings together 2,500 young people aged 18 to 35 representing 88 countries, including Morocco, to take part in the various sporting disciplines and cultural activities scheduled for this event.
When Nouhaila Benzina stepped onto the field for Morocco’s first match of the Women’s World Cup against Germany, she made history.
She became the first player to wear the Islamic headscarf at the senior-level Women’s World Cup.
Had Morocco qualified for the Women’s World Cup a decade ago, a player who wanted to wear the hijab during a game might have been forced to choose between faith and football.
That was until 2014, when head coverings were officially authorised by FIFA.
Who is Nouhaila Benzina?
She’s a 25-year-old defender on Morocco’s Atlas Lionesses.
In recent weeks, Benzina shared social media posts from others about the history-making nature of her World Cup appearance.
“Lots of work was done over many years, and thank God it had a positive result,” Benzina told Al Jazeera.
“We hope to play at a high level and honour Moroccans.”
‘That could be me’
Morocco are one of eight teams making their debut at the FIFA Women’s World Cup this year, alongside Haiti, The Republic of Ireland, Panama, the Philippines, Portugal, Vietnam and Zambia.
“We are honoured to be the first Arab country to take part in the Women’s World Cup,” Morocco captain Ghizlane Chebbak said on Sunday.
“Girls will look at Benzina (and think) ‘That could be me,’” said Assmaah Helal, a co-founder of the Muslim Women in Sports Network said of the hijab.
“Also the policymakers, the decision-makers, the administrators will say, ‘We need to do more in our country to create these accepting and open and inclusive spaces for women and girls to participate in the game.’”
Why did FIFA ban the hijab before?
FIFA cited “health and safety” concerns, some related to possible choking, with regulations forbidding “equipment that is dangerous to himself or another player.”
An incident in 2007 instigated the official ban.
Canadian girl Asmahan Mansour — who was 11 years old at the time — attempted to wear a headscarf at a tournament but the referee said it wasn’t permitted.
She was told she could remove it and play, but her hijab would not be permitted on the pitch.
When the issue reached FIFA, the sport’s global governing body banned head coverings in competitions it sanctioned, except for coverings that exposed the neck.
Initially, FIFA cited “religious symbolism” as a reason for not permitting head coverings.
But considering the multitude of tattoos, signing of the cross and goal celebrations by footballers, it became too difficult to enforce.
Helal was among the social activists, Muslim athletes, and government and soccer officials who worked to overturn the ban.
Speaking on the 2007 ban, Helal said it “sent a strong message to Muslim women, particularly those who wear hijabs, (that) we don’t belong.”
A two-year trial was granted
In 2012, the International Football Association Board (IFAB) allowed players to wear head coverings at international competitions over a two-year period following a request from the Asian Football Confederation (AFC).
No senior-level World Cups, men’s or women’s, were scheduled during the trial period.
Ban on head coverings lifted in 2014
In March 2014, FIFA lifted its ban on head coverings.
The decision was announced at a meeting of International Football Association Board in Zurich.
FIFA’s then secretary general Jérôme Valcke said hijabs and turbans were permitted on the field.
“It was decided that female players can cover their heads to play,” he said.
“Male players can play with head covers too.
“It will be a basic head cover and the colour should be the same as the team jersey.”
Helal said that since the ban was lifted, she has seen an increase in Muslim girls and women playing soccer, pursuing coaching pathways and leading their own football clubs.
“I think it’s key to understand that the hijab is an essential part of a Muslim woman, should she choose to wear it,” Helal said.
“It’s actually part of our identities.”
A Melbourne resident who attended Morocco’s public practice session last week, Maryan Hagi-Hashi, said she is supporting the Atlas Lionesses alongside tournament co-host Australia.
She appreciates the representation that the Moroccan team and Benzina provide, she said.
“There’s a mixture of (Muslim) women that wear hijab and don’t wear a hijab,” Hagi-Hashi said.
“I think the world has realised there is diversity.”
Two years after the ban was lifted, the under-17 Women’s World Cup in Jordan marked the first time Muslim players wore headscarves during an international FIFA event.
US Jordanian contestant Farah Abu Adeela from the state of Illinois was crowned Miss Arab USA at the beauty pageant’s finale in Arizona over the weekend.
The new Miss Arab USA, who is a model, takes over from 2022’s winner, Moroccan American Marwa Lahlou.
The annual pageant, which returned in 2022 after a two-year hiatus due to the COVID-19 pandemic, was held in Arizona this year. Produced by The Arab American Organization (AAO), the pageant is “founded on the basis of advancing the cause of young ladies of Arab descent,” according to its website.
The swimsuit category does not feature in the pageant, with the stated aim of organizers being to “select an honorable Arab young lady to represent our culture in the US and worldwide for one year.”
This year’s ceremony featured a performance by dance troupe Zeffa of Phoenix.
source/content: arabnews.com (headline edited)
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Farah Abu Adeela nabbed the coveted tiara at the 2023 Miss Arab USA pageant. (Instagram)
The Atlas Lionesses wrote a page in the history of Women’s football as they became the first Arab nation to play a Women’s Africa Cup of Nations final.
Morocco’s Women National Football (MWNF) team has been making headlines as their popularity has grown since last year’s Wafcon (Women’s Africa Cup of Nations) final, in July 2022.
Hosted by Morocco, the Wafcon tournament marked the rise of the Atlas Lionesses as they became the first Arab nation to play a final for this tournament, when they faced off against South Africa.
As they prepare for this year’s 2023 World Cup in Australia and New Zealand, it is worthwhile to look back on the MWNF team’s great accomplishment last year and what it means for the rest of the world.
The Atlas Lionesses’ Eye-Catching Adventure At Wafcon 2022
With Football having been traditionally viewed as a men’s game in the region, the MWNF team captured the hearts and imagination of girls and women from the Arab region as they achieved a milestone at the 2022 Wafcon.
Although South Africa ended up winning the title, the Atlas Lionesses gained recognition for their impressive skills and outstanding performances, securing the 7th rank in Africa and the 72nd place in the FIFA global ranking.
Before reaching the final, the MWNF team had beaten Botswana and Nigeria in two spectacular football matches, allowing them to secure a ticket to participate in the 2023 Women’s World Cup, which will take place in Australia and New Zealand.
Impressing many football personalities, the team’s remarkable performance also saw the rise of a number of star players in the team as Ghizlane Chebbak, Fatima Tagnaout, and Zineb Redouani were listed among the “best eleven” by the Confederation of African Football (CAF).
In addition to that, Morocco’s captain Chebbak was named the best player of the 2022 Wafcon and received the “Woman of the Tournament” award following the match against South Africa.
Commenting on the Atlas Lionesses’ performance at last year’s Wafcon, MWNF coach Reynald Pedros expressed his eagerness to reach new heights with his team: “We will continue to work. This is just the beginning of a new adventure.”
Recognition by international media
Various local and regional news outlets put the spotlight on the MWNF team’s achievements, acknowledging their contribution to Morocco’s football development, alongside the Atlas Lions’ incredible performance at the last men’s World Cup.
For instance, International football’s governing body FIFA described the year of 2022 as “Morocco’s miracle year of continental and international success” and emphasized the women’s team’s role in paving the way for Moroccan football to become a leading global symbol.
For Africa News, women’s football may be at a turning point as its popularity is growing exponentially, proven by the attendance record of the final Wafcon match which counted around 50,000 supporters at the Prince Moulay-Abdellah Stadium in Rabat. The article also acknowledged Morocco as “the first North African country to host the Women’s Africa Cup of Nations in the 24-year history of the continental competition.”
Earlier this week, the Atlas Lionesses headed to Australia ahead of the 2023 FIFA Women’s World Cup as the only representative of the Middle East and North Africa region in this prestigious global tournament.
Young Moroccan women are bringing new and inclusive energy to the centuries-old art of Gnaoua, a spiritual musical repertoire traditionally reserved for men.
Also known as “tagnaouite”, it gained worldwide recognition after it was listed by UNESCO as intangible cultural heritage in 2019.
“Why shouldn’t women be part of this dynamic?” asked Asma Hamzaoui at the Gnaoua World Music Festival in Essaouira, a southern coastal city steeped in the musical tradition.
The 26-year-old Casablanca native is one of the first women to perform Gnaoua, which blends African rhythms with spiritual chants and poetry.
Her father, a Gnaoua master, initiated her into the artform at a young age.
“I’ve accompanied him to his evening gatherings since I was seven years old,” recounted the young woman, who in 2012 formed the group “Bnat Timbouktou”, or The Girls of Timbuktu.
“I gradually learned to play the guembri, a three-stringed lute made of camel skin. My father made sure that I learned as much as possible before I flew solo.”
The all-female ensemble wowed the festival-goers — with Hamzaoui on vocals and the guembri, and four musicians on qraqeb steel castanets.
They played alongside the Amazones d’Afrique, another all-female group, from Mali.
‘Feeds the spirit’
“It’s exceptional to have women playing Gnaoua music, which shouldn’t be reserved for men,” said Hamza Tahir, a member of the audience. “They bring fresh air into this music.”
Inspired by Bnat Timbouktou’s success, rising star Hind Ennaira developed her passion for tagnaouite in her hometown of Essaouira.
Its fortified citadel on the Atlantic coast is a breeding ground for the mystical musical tradition, in which religious hymns invoke ancestors and spirits.
Originally practised by enslaved people and dating back at least to the 16th century, Gnaoua has gone from being practised largely in private gatherings, where therapeutic rituals accompanied the music, to public events such as concerts and festivals.
“The city of Essaouira is the cradle of tagnaouite,” said Ennaira, who was taught to play the guembri by friends. “It is beautiful heritage that feeds the spirit. It is important for young people to value it.”
Ennaira put her own touch on the tradition by bringing in a guitarist and drummer to accompany the traditional ensemble.
“At first, there were some differences because they were not used to working with a woman,” she said. “But after some challenging exercises, they adapted to me and we became complementary.”
‘Jimi Hendrix’ style
Yousra Mansour — the front woman of the band Bab L’bluz (“The Blues Gate”), which fuses Gnaoua, rock and blues — also encountered challenges entering the music scene.
“There were two constraints for me: first, the fact that this field is usually reserved for men, but also how we interpret traditional music,” the musician told AFP.
“It is not very accepted or even tolerated by some of the stricter individuals.
“We replaced the bass with the guembri and the guitar with the awisha (a small guembri) and created a kind of ‘power trio’ in the style of Jimi Hendrix with reimagined traditional instruments,” explained Mansour.
The 32-year-old vocalist passionately defends women’s freedoms, saying that “as a woman, I have not had an easy life”.
“There was a lack of women in this field. When I see Asma Hamzaoui or Hind Ennaira, they are magnificent,” she said.
“It is not easy to evolve in a predominantly male universe, but we see changes emerging.”
Gueddari’s art portrays the strength, resilience, and beauty of Moroccan women, in addition to advocating for their equal representation and recognition in society.
Houda Gueddari’s exhibition has captivated art enthusiasts at an ongoing art fair in the vibrant and culturally rich city of Rabat, with the artist’s work unveiling the remarkable artistic journey of a prominent Moroccan painter. Entitled “My Art, My Path,” the exhibition tackles pressing special issues as the artist uses her paintbrush as a weapon to create change.
In an exclusive interview with the gifted painter, Morocco World News had the opportunity to delve into her creative journey, discovering the personal anecdotes, challenges, as well as triumphs that have shaped her distinctive artistic style.
Between art and a more conventional career
Pursuing an artistic career, however, has not been easy for Gueddari, as she encountered many obstacles along the way. Faced with the pressure of pursuing a more conventional path, the Moroccan artist made a compromise and chose a paramedical career in dental prosthetics that still incorporated artistic elements.
But her passion for art remained unwavering. “I couldn’t let go of my dream,” she said. “I continued to seek opportunities to refine my skills, attending workshops and joining artist associations. These experiences opened doors to my first exhibitions and invaluable connections within the art community.”
The year 2016 marked a pivotal moment in Gueddafi’s artistic journey. With determination and vision, she founded the first art gallery in Fez, a space that showcased her own creations as well as supported and promoted fellow local artists.
“The gallery became a vibrant hub of artistic expression,” she reminisced, adding that “it was a joy to witness the dialogue and appreciation it fostered among art enthusiasts and collectors.”
When the COVID-19 crisis hit Morocco, it brought about unanticipated challenges, necessitating the temporary closure of the gallery amid a nationwide lockdown.
Yet, Gueddari did not allow this setback to extinguish her artistic spirit. “I adapted to the circumstances … I sought alternative ways to share my work with the world,” she said.
This includes the artist’s active presence on social media, notably her Instagram page with nearly 100k followers. Gueddari’s social media platforms serve as a medium for her to share her paintings, inspirations, and thoughts with art enthusiasts.
International recognition
Gueddari has made a name for herself as a renowned artist in Morocco, especially in the city of Fez where she lives.
In addition, her talent shone on the international stage with various achievements, including being selected as a finalist in a prestigious competition in Dubai. She also received acclaim for her work in Florence in 2022, winning the Leonardo Da Vinci international prize.
She fondly recalled her participation in the renowned Biennale art exhibition in Venice, Italy, and exhibiting at the Museum of Modern Art in Barcelona.
As travel restrictions were imposed worldwide, Gueddari redirected her focus toward promoting art within Morocco. In collaboration with the Marriott Hotel in Rabat, she orchestrated the ongoing “My Art, My Path” exhibition.
Speaking about her artworks, she said that she draws inspiration from various movements, including cubism and surrealism. “A little bit Picasso, a little bit Dali … I was inspired by several artists, but the truth is I really just try to be myself,” she explained.
Gueddari sees herself as a “committed artist.” She said: “When I paint, I paint my emotions, I lose my life, I paint everything that happens around me.”
Through her art, Gueddari tackles various themes and social issues, including women’s rights and the crucial role they play in Moroccan society.
“Women play an integral role in society, and their contributions should never be underestimated or undervalued. It is essential to create an environment where women have equal opportunities to thrive, express themselves, and pursue their dreams,” she said.
The “My Art, My Path” exhibition merges traditional and contemporary expressions, embodying the Moroccan artist’s profound connection to her homeland and its rich artistic heritage. “I am very proud to be Moroccan … I am very proud to represent my country as an artist,” she said.
Art as a constant quest for growth, self-discovery
Discussing the obstacles artists worldwide face, Gueddari acknowledged the challenges they have to endure, saying: “The life of a painter demands unwavering dedication and perseverance.”
“It is a constant quest for growth and self-discovery,” she stressed, underlining that these challenges serve as golden opportunities for artists to achieve personal and artistic growth, as well as push the boundaries of their creativity and inspire others along the way.
Despite the difficulties that artists encounter, Gueddari argued that the artistic journey is extremely rewarding. “The world of art teaches us tolerance, acceptance, openness to the other, and openness to the world.”
Through her work and her online presence, the Fez-based artist actively promotes art in Morocco, seeking to deepen the understanding and appreciation of the artist’s spirit and the nation’s artistic landscape.
Talking about the future of art in Morocco, she said that she is “very optimistic,” especially since the government has been giving more importance to art and culture.
After her exhibition in Rabat comes to an end, Gueddari will embark on another journey, with plans to hold exhibitions in various Moroccan cities, including Marrakech and Agadir.
When asked about her message to aspiring Moroccan artists, Gueddari shared a heartfelt, encouraging piece of advice. “Never settle for what you already know,” she said. “Embrace versatility, expand your knowledge, and explore different artistic domains. Stay true to yourself, and draw inspiration from other artists.”
Morocco wins the Arab Futsal Cup for the third consecutive year, cementing their status as a force to be reckoned with in the world of futsal.
Morocco’s national futsal team achieved a remarkable 7-1 victory over Kuwait in the final of the 2023 Arab Futsal Cup, securing their third consecutive championship title.
Led by coach Hicham Dguig, the team made history as the most successful in the tournament’s record books.
Before the clash at the Ministry of Sports Hall in Jeddah, Kuwait faced off against Algeria, emerging victorious with a hard-fought 3-2 win, which propelled them into the finals.
They also faced off against Egypt in the quarter-finals, clinching a 6-2 victory.
The Moroccan team exhibited a remarkable performance throughout the tournament, overwhelming their opponents with a series of commanding victories. Their journey started with a 5-0 triumph over Comoros, followed by a 6-0 win against Lebanon.
In the knockout stages, the Atlas Lions continued their relentless pursuit of victory. They faced Saudi Arabia in the quarter-finals, delivering a 5-2 win, and then went on to conquer Libya with an impressive 5-1 victory in the semi-finals.
Moroccan coach Hicham Dguig’s squad members previously defeated Kuwait 4-2 in the group stage, entering the game with confidence and a clear understanding of their opponents’ strengths and weaknesses.
Morocco’s national futsal team is currently ranked 8th globally and leading the Arab world and Africa in the Futsal World Ranking (FWR).
Meanwhile, Kuwait is ranked the third highest-ranked Arab nation and ranked 41st globally.
With their awe-inspiring performance in the final, the Moroccan national futsal team has undoubtedly etched their names in the annals of Arab futsal history.
This remarkable achievement will not only be celebrated by the team and their fans, but will also inspire future generations of Moroccan futsal players to strive for greatness on both regional and international stages.
The event highlighted Moroccan caftan as a key part of Morocco’s cultural identity and diversity.
The UNESCO headquarters in Paris hosted on Tuesday evening a spectacular fashion show displaying the vibrant colors and captivating designs of Moroccan caftan. The show was part of the African Week taking place between June 5 and 9.
The event showcased the work of Moroccan designer Fatima Zahraa Al-Filali Al-Idrisi, the visionary creator behind the renowned brand “Fatim Haute Couture Made In Morocco.” She had been specifically invited to represent Morocco at the show.
With an atmosphere infused with the melodies of Tarabi and Andalusian heritage, the Moroccan designer mesmerized the audience with her unique collection of Moroccan caftans.
She showcased “an original variety of Moroccan caftans resembling historical, vibrant, and pleasant works of art,” indicated a press release.
The statement added that Al-Idrisi’s designs “embodied both the luxury and honor of this traditional national garment, the Moroccan caftan, which has remained an authentic and refined heritage throughout different periods and generations.”
Exuding opulence and prestige, each garment embodied Morocco’s rich cultural, historical, and civilizational legacy.
The fashion event saw a harmonious blend of international, African, and Maghreb presence, convening diplomats, professionals, entrepreneurs, artists, media representatives, and members of the African diaspora residing in France.
With her participation in the event, under the theme “Authentic National Heritage,” Al-Idrisi aimed to highlight and celebrate Morocco’s cultural diversity and bring the international audience closer to the different cultural realms that shape the Moroccan identity.
From the Sahrawi caftan to the Amazigh caftan and the Moroccan Jewish caftan, the Moroccan designer showcased a wide range of styles, incorporating regional dimensions, including the Fassi, Rbati, Atlassi, Shamali (Northern), Sharqi (Eastern), and Janoubi (Southern) designs.
The spectacle also celebrated the craftsmanship and attention to detail involved in the creation of Moroccan caftans. This included the fabrics, textures, and captivating colors used in the caftans varied according to regions, customs, occasions, and seasons.
The event also showcased Moroccans’ mastery of caftan styling techniques, embroidery, and ornamentation, a testament to the creative skills and dedication of the North African country’s artisans.
In line with the African Week’s objective of showcasing the continent’s cultural and artisanal heritage, Al-Idrisi incorporated “prominent authentic accessories that enhanced this elegant garment,” added the statement.
The accessories included hand-women and embroidered pouches, headbands, crowns, belts, woven and metallic trims, traditional brooches, earrings, and necklaces.
Adorned with coral and gemstones, the accessories enhanced the overall charm of the caftan designs.
