Rabat - Morocco continues to be the muse of the biggest names in the fashion industry, and Roberto Cavalli is no exception.
Rabat – Morocco continues to be the muse of the biggest names in the fashion industry, and Roberto Cavalli is no exception.
The Italian brand, led by the Englishman Paul Surridge, presented a collection on Saturday, September 22, inspired by the desert of the North African country, during the fourth day of Milan Fashion Week.
Roberto Cavalli’s models walked in a feminine, versatile, and dynamic collection for spring-summer 2019, bringing up to date the ingredients that made the success of the house Florentine. Alluring outfits, luxurious materials, and craftsmanship were remixed in a more sporty and modern style.
“I recently traveled with my team to Morocco. I wanted to mix the tradition of ornamentation, an important element of the vocabulary of the Cavalli house, with those of Moroccan craftsmen,” explained Surridge to AFP.
The Moroccan touch can be found in sequins finishing dresses and in jackets with traditional Amazigh (Berber) rugs with fringes and silver sequins.The animal motif, dear to Roberto Cavalli, is always present.
The biggest fashion brands, and luxury in particular, love to take inspiration from Morocco for their creations. In recent years, everyday objects, some shunned by Moroccans, have fed the imagination of creators.
This is the case of Nike, Puma, or even Gucci who borrow warm colors and motifs from the Moroccan culture for their collection.
Recently, the French luxury brand Balenciaga chose to sell an expensive and luxurious version of the traditional Moroccan slipper, also known as “babouches” in French and “balgha” in Darija (Moroccan Arabic).
On its website, Balenciaga offered a square-toe mule in either black or red leather for MAD 5,118. However, in the souks and medinas (walled cities) of Morocco, the traditional shoe is sold for between MAD 50 and 70, which Moroccan people have reminded the brand on social media.
Social media users have slammed Balenciaga, accusing the Frenh enterprise of a “scam” and “cultural appropriation,” mocking their lack of imagination.