How nada is reworking moroccan heritage through tamzwakht
At 21, the Applied Arts graduate behind TAMZWAKHT is bringing Moroccan craft into everyday streetwear through upcycling, Qftan silhouettes and references to Gnawa culture.
For Nada, Moroccan heritage was always present, but not necessarily something she imagined wearing every day.
The 21-year-old Applied Arts graduate and designer, based on the Moroccan coast, grew up with a strong interest in art, heritage and making things by hand. That relationship eventually led her to create TAMZWAKHT, a project built around Moroccan identity, upcycling and the transformation of existing garments into pieces that carry new stories.
Before starting the project, Nada saw traditional Moroccan clothing and streetwear as two separate worlds. She loved traditional garments, but wearing them casually was not something she had really considered.
That changed as TAMZWAKHT began to take shape.
She noticed that foreign visitors were often drawn to Moroccan traditional clothing but did not always feel they could integrate those garments naturally into their everyday lives. For Nada, that observation opened up another possibility: keeping the codes of the Qftan while changing the way it could be worn.
The result was a streetwear-oriented approach to the garment, with ensembles designed to feel easier, more casual and less connected to a specific occasion.
The idea is not to move away from Moroccan clothing, but to change its context.
One of the clearest examples is her Adidas Caftan, which began with a vintage Adidas tracksuit she had received when she was around 16 or 17. It remained in her wardrobe for years before becoming material for a new experiment.
At the same time, Nada had been thinking about lining garments with traditional Sfifa. Bringing those two elements together created the contrast she was looking for.
By combining global sportswear with the cut and craftsmanship of a Qftan, she wanted to challenge the idea that heritage has to remain fixed or reserved for formal occasions.
“Moroccan identity is alive, dynamic, and belongs on any street in the world.”
The piece reflects one of the central ideas behind TAMZWAKHT: traditional codes do not necessarily lose their meaning when they enter a contemporary context. For Nada, they can become another way of keeping heritage present in daily life.
That relationship between reinterpretation and respect becomes even more important in her Gnawa Caftan.
Nada has felt connected to Gnawa music and culture since she was young, and she approached the garment with a particular awareness of the difference between referencing a culture and simply using its visual elements as decoration.
Rather than treating Gnawa imagery as an aesthetic layer, she focused on details she considers connected to its visual language. Black was chosen in reference to the Kohl associated with Gnawa, while cowrie shells, or l’wda3, became part of the garment.
She also preserved the original cut inspired by traditional Gnawa clothing and incorporated the form of the Guembri strap into the design.
For Nada, keeping those elements intact was important.
She wanted the piece to bring Gnawa culture into everyday wear without removing the references from the history and context that give them meaning.
This question of what can change and what should remain is central to the way she approaches Moroccan heritage more broadly.
Her process begins with a balance between authenticity and functionality. Certain elements, particularly the details connected to Moroccan craft, remain important anchors in the work.
She points to Sfifa, handmade Aakad buttons and authentic cultural symbols as details that should continue to be treated with respect.
The freedom comes elsewhere.
Nada experiments with cuts, silhouettes and the way garments are used, moving forms associated with formal or traditional dressing towards streetwear sets that can be worn more easily in everyday life.
“It’s all about finding the right balance between authenticity and modern functionality.”
For TAMZWAKHT, reinterpretation is therefore less about replacing tradition than changing the spaces in which it can exist.
A Qftan can move beyond ceremonies. Traditional craftsmanship can sit next to a sportswear reference. Gnawa codes can enter a contemporary garment without becoming disconnected from their meaning.
Through that approach, Nada is exploring a broader question facing many young Moroccan designers today: how can heritage remain recognisable while continuing to evolve?
Her answer is not to keep it untouched.
It is to understand which elements carry its identity, then give the rest enough freedom to move.

Photo: Nada
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