It is a long-anticipated, meticulously prepared, and deeply symbolic recognition. On Wednesday, December 10, 2025, the Moroccan caftan was officially inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity, at the conclusion of the 20th session of its Intergovernmental Committee, held in New Delhi, India. It’s a decision that celebrates a centuries-old ceremonial garment, but above all, a living savoir-faire passed down from generation to generation for more than eight centuries.

Samir Addahre, Ambassador and Permanent Delegate of the Kingdom of Morocco to UNESCO, praised the “arduous work” behind the achievement and paid tribute to the collective mobilization of Moroccan diplomacy in bringing the dossier to fruition. “The ceremony took place at the Red Fort, an emblematic site of Indian culture that is itself listed as a UNESCO World Heritage site. There was something profoundly powerful about seeing the Moroccan caftan recognized in a place already steeped in human history. In that moment, we truly felt that our own story was joining a much larger one,” recalls caftan designer Zineb Joundy, who attended the ceremony.

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The Moroccan caftan at UNESCO: two years of advocacy, recognition at the finish line 

Officially, the Moroccan caftan’s journey to UNESCO began in 2023, when Morocco announced its intention to submit a registration dossier. . What followed was a rigorous, in-depth process—historical documentation, inventorying techniques, and the mobilization of all stakeholders (artisans, designers, media, and more)—aimed at convincing the 24 members of the Committee. “There was a great deal of restraint, but also a lot of emotion. We knew how strongly Morocco had mobilized for this registration, and the last-minute twists kept us on edge. When the recognition was finally confirmed, the sense of pride was overwhelming,” says Zineb Joundy.

During the review session on December 10, the Moroccan caftan dossier at UNESCO became the focus of a particularly tense diplomatic moment. A procedural postponement attempt, put forward by the Algerian delegation, sought to introduce an amendment that could have delayed the registration.  The maneuver was rejected by the Committee’s president, with the support of several member states, including the United Arab Emirates, Spain, and Nigeria. Following the exchanges, the amendment request was withdrawn, clearing the way for validation.

Artisans, transmission, and economic impact

In an exclusive statement to Shoelifer, Fatim-Zahra Ammor, Minister of Tourism, Handicrafts, and the Social and Solidarity Economy, welcomed the recognition of the Moroccan caftan at UNESCO, describing it as an “immense source of pride for Morocco.” “This recognition belongs first and foremost to all Moroccans, but especially to those who have kept the caftan alive over time: our artisans. Their actionss, their know-how, their ability to pass this heritage down from generation to generation—that is what has allowed the caftan to reach us today with such strength,” she states.

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The Minister also highlights the long-term efforts carried out by all stakeholders, particularly the Handicrafts Department. This collective approach  made it possible to present a “clear and coherent” dossier, confirming the caftan’s inestimable value. Beyond its symbolic dimension, the registration of the Moroccan caftan at UNESCO opens up tangible prospects: enhanced international visibility, increased demand, and a positive economic impact across the entire ecosystem (creators, designers, artisans, retailers).

“For designers, this inscription brings international legitimacy. It reinforces the artistic value of the caftan, opens doors within the fashion and luxury industries, and encourages a more conscious form of creation—one that respects heritage while leaving room for innovation,” explains Zineb Joundy. “This recognition is also essential for artisans. It safeguards ancestral know-how, strengthens professional pride, and above all ensures its transmission to younger generations, which is the key condition for the sustainability of these crafts,” she adds.

Read also : EXCLUSIVE: ZHOR RAÏS CREATES A DIALOGUE BETWEEN HER CAFTANS AND DALÍ’S SCULPTURES

The Moroccan caftan at UNESCO: between soft power and couture in motion

For several years now, the Moroccan caftan has established itself as a discreet yet powerful tool of soft power. Featured on runways, in exhibitions, and at major cultural events in the Middle East and Europe alike, it conveys an image of Morocco that is both deeply rooted in heritage and resolutely contemporary. Through it are exported an art of living, a vision of artisanal luxury, and a modern portrayal of Moroccan womanhood—confident, elegant, creative, and free in both conventions and reinterpretations.

This influence is the result of a rich and long-standing ecosystem. Since 1996, the “Caftan du Maroc” fashion show, organized by Femmes du Maroc and broadcast on 2M, has played a major role in anchoring the caftan in the collective and media imagination. This visibility has been amplified by major magazine covers, from L’Officiel Maroc to lifestyle publications, as well as by Moroccan princesses, who regularly wear the caftan at official events, reinforcing its symbolic and cultural significance.

Among the many initiatives that have accompanied this movement, Shoelifer has contributed to showcasing the caftan by providing artistic direction and/or curating several cultural projects in Morocco and internationally. These include the exhibition and fashion shows organized in 2015 in Abu Dhabi as part of Moroccan Heritage Week, inaugurated during its first edition by King Mohammed VI,  as well as the exhibition “L’Odyssée du caftan”, presented in 2024 in Casablanca, which brought together historical pieces, contemporary creations, and artisanal gestures in dialogue.

That same year, the Caftan Fashion Show in Doha, organized at Dar Al Maghrib in the presence of Princess Lalla Hasna, brought together ten Moroccan designers, including Zineb Joundy. More recently, the exhibition “Dalí Diali – The Fabric of Dreams”, conceived by Zhor Raïs to mark her forty years of creation, staged a dialogue between twelve sculptures by Salvador Dalí and twelve couture caftans.

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While the Moroccan caftan has yet to fully establish itself in Western wardrobes, it has already won over cultural and social elites across the MENA region, becoming both a marker of distinction and an object of desire. Its inscription on UNESCO’s Intangible Cultural Heritage list further strengthens this momentum. It grants the caftan universal legitimacy. By inducting the Moroccan caftan, UNESCO is not celebrating a frozen past: it is recognizing a living present and, above all, the future.

Forty  years devoted to Moroccan caftan creation, yet still with the intepid  audacity of a beginner… To celebrate this symbolic anniversary, in Casablanca Zhor Raïs unveils one of the most ambitious projects of her career: an unprecedented dialogue between twelve iconic sculptures from the Dalí Universe collection and twelve exclusive couture creations inspired by them. Presented from December 9 at the Zhor Raïs Couture House, and then open to the public from December 16 by appointment only, the exhibition “Dalí Diali – L’Étoffe du rêve” (My Dalí — the Fabric of Dreams)  unfolds as an intimate installation, designed to spark a fully immersive sensory experience.

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Here, the pieces are not meant to be worn, but displayed as works of art,  a rare format that highlights Zhor Raïs’s pioneering path as a leading figure of the contemporary caftan. As she puts it herself: “I wanted to give my creations a second life, to challenge myself, and to free the caftan’s cut.”

When one encounter changes everything

Since her years at the Casablanca School of Fine Arts, Zhor Raïs has nurtured a deep admiration for Salvador Dalí. The true turning point came in 2016, during an exhibition dedicated to the Catalan master in Saudi Arabia, curated by Bertrand Epaud. Presented with Dalí’s three-dimensional works, the designer discovered a new way of thinking about materiality and volume. The collaboration soon became an obvious next step. Dalí Universe, home to one of the largest private collections dedicated to the surrealist master, supported the Maison throughout every stage of the project, notably granting official authorization for Dalí’s signature to appear on each of the twelve creations, all accompanied by a certificate of authenticity.

A first in the Arab-Muslim world, the project places Zhor Raïs at the crossroads of fashion, art, and heritage. Surrounded by her sister Nadia and her daughters Houda, Chadia, and Aïda, the designer transforms this artistic encounter into a true family endeavor, carried by forty years of craftsmanship and transmission.

Couture as sculpture: three years of exploration

For nearly three years, Zhor Raïs and her atelier shaped each piece as a textile sculpture, exploring Dalí’s major themes: the elasticity of time, the metamorphosis of beings, dreams and the unconscious, flight and weightlessness, and the duality of forms. Materials serve the narrative. Stretched chiffons evoke slipping hours, luminous organzas capture and refract light, transparencies glide between reality and reverie, sculpted embroideries create unexpected reliefs. Each creation interprets a sculpture rather than a silhouette, blending the ancestral gesture of the caftan with contemporary freedom.

In this dialogue between the two worlds, couture becomes a language. As Bertrand Epaud, exhibition curator for Dalí Universe, notes: “With Dalí Diali, Zhor Raïs transforms couture into a territory of the imagination. By bringing the ancestral gesture of the caftan into conversation with Dalí’s surrealist universe, she composes an immersive work of art—a space where material becomes dream, and tradition opens itself to bold modernity.”

The power of a shared imagination

Facing the sculptures that punctuate the journey—from Dance of Time I to Space Elephant, from Woman of Time to Alice in Wonderland—the exhibition reveals what deeply connects Salvador Dalí and Zhor Raïs: a shared ability to turn heritage into vision, to shift reality, and to make creative gesture a bridge to the unconscious. Carefully lit to highlight volumes and transparencies, the tour feels like a contemporary cabinet of curiosities, where each stop opens into  a different symbolic threshold.

Where Dalí redefined the boundaries of art, Zhor Raïs redefines those of the caftan. Where he turned dreams into material, she turns couture into a space for artistic expression. With “Dalí Diali – L’Étoffe du rêve” (My Dalí — the Fabric of Dreams), the Maison inscribes Moroccan creation within the international cultural scene and delivers one of its most ambitious projects to date. It’s a sensory  journey designed to draw the audience into the shifting light of dreams—and to mark a new era for Zhor Raïs by setting an unprecedented benchmark in the dialogue between art and couture in Morocco.

On Wednesday, December 4, Dar Al Maghrib, a 1,300-square-meter Moroccan pavilion inspired by the kasbah of Aït Benhaddou and built on the esplanade of the Museum of Islamic Art in Doha, hosted a magnificent Moroccan caftan fashion show. Ten collections, each featuring ten pieces, lit up the stage, which was inspired by the Berber symbol Yaz. An audience of 250 high-profile Moroccan and Qatari personalities marveled at the creations of Amina Benmoussa, Myriam Bouafi, Frédérique Birkemeyer, Fouzia Naciri, Houda Serbouti, Albert Oiknine, Yasmina Benyahya, Najlae Diouri, Sara Chraïbi, and Zineb Joundy.

The show was enhanced by performances from traditional Moroccan troupes—Gnaoua, Guedra, and Haddarates from Tetouan—highlighting Moroccan craftsmanship and lifestyle. A video fresco acted as a luminous thread weaving through the kingdom’s landscapes. Another standout moment was Douzi’s performance of his hits Ana Maghrabi and Layoun Aynia.

As promised, it was a stunning showcase, and you can catch a glimpse of it here.

Now, let’s dive into the details of the collections for Moroccan caftan enthusiasts.

Heritage by Amina Benmoussa for Miya Couture

A tribute to Morocco’s cultural heritage, Amina Benmoussa’s collection revisits traditions from various regions of Morocco. Founded in 1996 in Casablanca, Miya Couture delivers a contemporary take on Moroccan craftsmanship with vibrant brocades, shimmering silks, and lace. Techniques such as Terz Ntaâ, Zwak Maâlem, and Terz Rbati are prominently featured. The collection, in shades of black, gold, and green, celebrates a woman rooted in her traditions while also embracing modernity —making for a truly dazzling figure.

Imperial Majesty by Myriam Bouafi

Inspired by Marrakech, the quintessential imperial city, Myriam Bouafi’s collection draws from the opulence of its palaces, ornaments, and lively cosmopolitan feel. 

The designer, who first pursued law studies before training in the craft of the Moroccan caftan, pays tribute to her country’s cultural heritage. Her creations blend traditional embroideries like Terz Ntaâ and Zwak Mâalem with contemporary motifs—often geometric—on flamboyant brocades, lush prints, and monochromatic silks. It’s a collection of great majesty, enhanced by a color palette that is both joyful and radiant. It features shades of red, lime green, lilac, maroon,, and rust-red – all emblematic of the ochre city.

Starry Night in Fez by Frédérique Birkemeyer

This collection by Frédérique Birkemeyer evokes a graceful stroll under a starry night in the secret gardens of the riads in the imperial city. Deeply devoted to the Moroccan caftan, the Marrakchi designer pays a vibrant tribute to this traditional garment, showcasing the art of Fez-style embroidery. The colors are bold: red, green, black, and blue. Her exploration of silhouettes—including the caftan, gandoura, and badiya—is both contemporary and elegant. The pieces shine with a unique brilliance, adorned with inlays of gemstones, jade, and crystals.

Al Maghrib by Fouzia Naciri

Inspired by the Setting Sun, Al Maghrib in Arabic, serves as the inspiration for Fouzia Naciri’s collection. Founder of the couture house Atelier Fouzia Naciri in 2011, she presents a stellar interpretation that begins with a palette of yellow and gold silks, blazing into shades of red and coral before softening into lavender and midnight blue tones. In her creations, Fouzia Naciri explores various Moroccan embroidery techniques such as Zwak Maâlem and Randa. She also brings her personal touch to the Moroccan caftan through innovative cuts, including her signature Thoraya caftan with ultra-flared sleeves, a hallmark of her designs for the past five years.  It’s truly a  display of majesty and character.

Bucolic Romance by Houda Serbouti

Since her debut in 2012, glamour and romance have defined Houda Serbouti’s work. Staying true to this essence, the designer has crafted a collection that feels like a poetic stroll—an ode to a romance that is both sophisticated and full of character. Houda Serbouti’s caftans, made of silk crepe with tailored cuts, are exquisitely adorned with floral embroidery. This collection is dedicated to blossoming young women, transitioning from the freshness of pastel shades to the boldness of more assertive tones like Majorelle blue and the fiery ochre of Moroccan soil. A timelessly delightful elegance.

Desert Breeze by Albert Oiknine

Albert Oiknine’s collection is a luminous breeze over the sandy plains. The shimmering lamés evoke flashes  of light, while his nude-toned caftans symbolize the desert sands. His cream-colored ensembles, on the other hand, reflect the moonlight over the vast desert expanse. For 25 years, in his Casablanca atelier, Albert Oiknine has blended lace, pearls, sequins, and airy fabrics to present his deeply personal reinterpretation of the Moroccan caftan. Once again, his contemporary cuts—featuring cape-embellished gandouras, badiya gowns with layered skirts, and caftans with reimagined collars—create a tableau of softness and dreamlike elegance.

Flamboyance by Yasmina Benyahya

A tribute to the craftsmanship of artisans, Yasmina Benyahya’s collection delves into the codes of grand Moroccan celebrations. Drawing from the classic wedding colors of Moroccan tradition—gold, burgundy, and green—the young designer, trained at the Instituto Marangoni in Paris and in her mother’s workshop, Houria Création, incorporates her favorite celestial hue: blue. The collection explores various embroidery techniques, such as Bride and Zwak Maâlem in gold and silver thread, as well as the application of sequins. A wardrobe that is both opulent in its embellishments, contemporary in its techniques, and deeply rooted in the tradition of the Moroccan caftan.

Mediterranean Dream by Najlae Diouri

The collection by Najlae Diouri, founder of the Najlae brand based in Casablanca and Dubai, reflects her journey and heritage, serving as an ode to the hues of the Mediterranean and the emblematic northern Moroccan cities of Tangier and Tetouan. Inspired by the color palette of rooftops and Andalusian-Arabic architecture, the designer translates this vision into refined and elegant creations. Her caftans, predominantly crafted in cool tones such as sky blue, indigo, and pale yellow paired with olive green, are adorned with traditional Moroccan embroidery. The cuts, strongly influenced by caftans from the 1970s and early 1980s, are modernized with the addition of jumpsuits and capes. It is a feminine, minimalist, and modern collection that remains deeply respectful of the standards  of traditional Moroccan attire.

Andalusian Garden by Maison Sara Chraibi

Sara Chraibi’s collection tells the story of a gentle stroll through an Andalusian Eden, both earthly and celestial, where the shadows of arcades meet the brilliance of sacred fruits. On her caftans, capes, and badiya, the founder of Maison Sara Chraibi in Rabat—now an invited member of the official Haute Couture calendar in Paris—unveils architectural motifs and botanical embroideries. On ethereal silks, the designer brings to life foliage and sacred fruits such as pomegranates and grapes, in hues of gold, ivory, blue, and aquamarine. A wardrobe where sophistication and the complexity of craftsmanship unite in a divinely harmonious blend.

The Initiatory Journeys of Zineb Joundy

From her extensive journey tracing the Silk Road, Zineb Joundy paints a portrait of rare character, finesse, and sophistication. A pioneering and bold fashion designer, she honed her craft alongside Karl Lagerfeld and at Lanvin before opening her atelier in Casablanca in the early 1990s. She draws inspiration from the embroidery and patterns of Morocco’s diverse regions, as well as Mughal, Persian, and Andalusian designs, which she elevates by creating a vibrant dialogue between cultures and influences. Her caftans, richly adorned with motifs ranging from understated to intricate sequined designs, are enhanced by majestic capes that reflect her boundless creativity. It is a testament to her passion for travel  and a symbol of her avant-garde, yet traditional, couture.

About Years of Culture

“Years Of Culture,” chaired by Sheikha Al Mayassa Bint Hamad Bin Khalifa Al Thani, is an initiative launched in 2012 to promote cultural exchanges and diversity between Qatar and other nations. The Morocco-Qatar Year of Culture 2024 began in February 2024 and concluded on December 17. However, several exhibitions remain open, such as the Dar Al Maghrib pavilion and the “Splendors of the Atlas: A Voyage through Morocco’s Heritage” exhibition at the Museum of Islamic Art, which runs until March 8, 2025.

Picture © : Courtesy of Years of Culture 

 In 2023, Morocco submitted a request for the induction  of the Moroccan caftan onto the UNESCO World Heritage List. While awaiting review of the application, which will take place in 2025, the Moroccan caftan is on display in Casablanca. From April 3 to 12, DS Automobiles presents the unprecedented and immersive exhibition “Au fil du caftan: heritage & craftsmanship,” at the DS Gallery. Why would a French luxury automobile manufacturer be interested in the Moroccan caftan? Simply because DS Automobiles excels in syncretism, combining advanced technology with ancestral craftsmanship. In addition, it has also been the official partner of Paris Fashion Week since 2019. So, at a time when the Moroccan caftan, the result of a millennia-old history and heritage, is exported worldwide, this merger makes perfect sense.

 Furthermore, the artistic direction and curation of this exhibition were conceived and designed by Sofia Benbrahim, founder of the digital agency Serafina Concept and publisher of Shoelifer — and the whole team of your favorite lifestyle magazine worked day and night to prepare for this event! As a reminder, Sofia Benbrahim is no stranger to this kind of endeavor. From 2015 to 2019, she was  entrusted with curating the exhibition of traditional Moroccan couture at the Moroccan Week in Abu Dhabi over 4 successive editions. So, you can see why it’s really worth taking  a look at the DS Gallery.

An exhibition bursting with color 

If we can’t convince you on an emotional level, what about on a more substantial one?  The exhibition “Au fil du caftan: heritage & craftsmanship” is objectively a must-visit if you want to become an expert on the  Moroccan caftan which, is (do we really need to remind you?) an essential piece of the female wardrobe in the kingdom. The educational and colorful exhibition brings together for the first time private collections of ancient, vintage, and modern Moroccan caftans, as well as current collections designed by our greatest Moroccan designers.

You will discover pieces by Tamy Tazi, Zhor Sebti for Fadéla Couture, Zbida Alami, Amina Benmoussa, Zineb Joundy, Lamia Lakhsassi, Frédérique Birkemeyer, Albert Oiknine, Houda Serbouti, Myriam Bouafi, Zineb Lyoubi Idrissi, Loubna Guessous, Amina Tmimi, Salima Chaieb, and Sara Chraïbi. So, it is a true immersion into the universe of a transgenerational garment, often passed down from mothers to daughters, which brings people together and strengthens their bonds. 

Read also : WEDDING CAFTAN : LET’S REVIEW THE BASICS !

 The story of a millennium-old saga 

Throughout the exhibition, the millennium-old saga of the caftan unfolds. First of all, its origins are still subject to historical debates. The caftan is “inherited from the splendors of the Ottoman Empire for some, a reinterpretation of the flowing robes of the Roman era, or reminiscent of the  traditional haik for others.” Above all, it was once a garment of choice for men, a symbol of grandeur reserved for nobility. “From Baghdad to Cordoba, from Damascus to Istanbul, the caftan has been enriched , over time, by various influences to become the sartorial icon of the kingdom in the 11th and 12th centuries. But it was only 200 years later that it would make a remarkable entrance into women’s wardrobes to never leave again,” state the explanatory texts written for the exhibition.

In the 19th century, with the economic boom in Morocco, “the caftan flirted for the first time with Lyon brocades and silks imported from China.” The Moroccan caftan then became the preferred medium for ntaâ embroideries in gold thread from Fes, multicolored floral motifs from Tetouan, or geometric designs in silk thread from Rabat —  alll achieved through the extraordinary behind-the-scenes work of the maâlems. From the 1950s to the 1970s, Western women’s liberation gradually reshaped the shape and style of the Moroccan caftan. The T-cut gradually gave way to a multitude of variations: trains, kimono sleeves, and flared shapes — evolutions brilliantly embodied by the iconic creations of Zhor Sebti for Fadila Couture, Zina Guessous, and Tamy Tazi.

The more things change the more they stay the same          MOROCCAN CAFTAN

With the exhilarating 1980s , the Moroccan caftan adopted tailored waists, shoulder pads, and new fabrics like guipure (lace). It was even worn over sheath dresses and other silk jerseys. In the 1990s, the rise of Moroccan fashion and the broadcasting of fashion shows on television contributed to the emergence of new designers with boundless imagination. This led to an era of uninhibited  Moroccan caftans (layering of skirts, extra-wide belts, corsets, etc.) in the 2000s. This then led to  the refined sleeves and an even more pronounced waist, all enhanced with sequins, beads, or sun pleats in the 2010s.

 Despite this fascinating evolution, the Moroccan caftan never denies its traditional fundamentals (T-cut, buttons, and cinched waist) —  a sign of true kinship and continuity. For instance, when gathering collections for this exhibition, three designers each brought a caftan in carmine red velvet. One dated from the early 20th century, another from the 1920s, and the last from the present era.

Ending With a Joyful Suspension and Concise Overview           MOROCCAN CAFTAN

The highlight of the exhibition is none other than the suspension of caftans, a discursive visual artwork where ancient and contemporary ultra-colorful caftans come together. . The suspension is conceived as a celebration, a joyful and timeless festivity, where creative and experimental innovation meets heritage and unity. We have to admit, it’s quite moving!

Instructive  and inclusive, the exhibition also showcases the process of designing the Moroccan caftan. “From an inspiration board to the first pencil stroke, from a pattern to embroidery tests, the designer refines and communicates his creative vision. Supported by his cutters, tailors, pattern makers, embroiderers, maâlems, workshop managers… it’s a whole invisible world, a true driving force, that is active behind the scenes of the caftan.” The author of these lines (who, as you know, loves to flaunt her knowledge in public) particularly enjoyed “Le petit précis de la couture traditionnelle marocaine” (A Brief Overview of Traditional Moroccan Couture) also presented within the exhibition. Her favorite word? Karmoussa, which refers to the XL akad in braided silk thread, named so because of its resemblance to a fig. In short, as you can see, this exhibition on the Moroccan caftan is a must-see — and as soon as possible! 

 “AU FIL DU CAFTAN – HERITAGE & CRAFTSMANSHIP” 

From April 3rd to 12th, 2024, at the DS Gallery, located at the DS Store Al Massira Al Khadra, Casablanca.
Open to the general public from 9 a.m. to 5 p.m. and from 8:30 p.m. to 10:30 p.m.

We’re not telling you anything new: the marathon of grand celebrations is about to begin, and it will last… and last… and last. “I can’t, I have a wedding” will become your favorite catchphrase for the coming months. And your closet’s motto will be, “You can’t, you already wore it last week.” Last-minute study session: brush up on your knowledge of Moroccan caftans, especially for summer 2023, before the exams that are the best look competition. What style, craftsmanship, or color should you choose to be at the forefront of the trend and make others jealous? These are the questions.

The Amazigh Spirit by Lamia Lakhsassi

The queen of multicolored embroidery returns this season with a brilliant proposition: to bring modernity to Amazigh patterns by experimenting with contrasts. We fell in love with this caftan, the centerpiece of her latest fashion show in Marrakech. Breaking the rules of traditional Moroccan couture, it combines a graphic fabric inspired by the Amazigh culture with a white dfina adorned with floral and graphic embroidery. It’s authentic, elegant, and incredibly modern! Especially if you accessorize it, like here, with Berber silver jewelry.

Tie-Dye by Frédérique Birkemeyer

If there’s one trend that has taken over the fashion world in recent years, it’s tie-dye. Generally a symbol of a bohemian and casual spirit, it’s hard to imagine it in a Moroccan caftan. Yet, Frédérique dared to do so with this two-piece silk caftan featuring a structured neckline and Indian trimmings. We love it at the editorial office.

The Metallic Caftan by Line Bleu

At Shoelifer, we admire this young Moroccan caftan brand. Since its inception, Line Bleu has brought a breath of fresh air by offering modern combinations and different materials. We particularly like their now-classic openwork designs. This season, the metallic trend, reminiscent of the late seventies and early eighties, is back! Line Bleu has made it the highlight of its collection called “Lunaire.” A decidedly modern material choice, occasionally adorned with delicate Amazigh-inspired embroidery or a wide sfifa finish at the bottom of the caftan. It exudes a quiet brilliance.

Read also : JELLABA 2023 OR NOT JELLABA ?

Silver & White by Houda Serbouti

Aficionados of Moroccan caftans know that Houda Serbouti embodies ultra-femininity. Graphic stone and sequin embroidery all over, the designer loves the full look and executes it marvelously. This summer, she’s back with a caftan that combines silver and white. Classic, you might say? That’s without considering Houda’s creativity: she offers a two-piece silk caftan worn under embroidered and beaded mesh with black and white floral and graphic motifs. A choice that reduces contrast and gives the piece a sense of lightness.

The Ethnico-Makhzani by Siham Tazi Lahlou

Looking for Makhzani elements? Siham Tazi Lahlou has made it her signature. This summer, she adds an unexpected ethnic touch! A caftan where the materials, colors, embroideries, and the work of the maâlem (master craftsmen) seem to come from different planets. Yet their combination results in a striking harmony. So very unique.

The Color Block by Ghita Essakalli

It’s so often found on the runways that the color block is no longer a trend; it’s now a classic. This summer, it’s royal blue or nothing. That’s also the case with Ghita Essakalli and this silk caftan with a standing collar. The bonus: geometric embroidery, also worked in color blocks. Simple, chic, and very modern. We approve.