Noureddine Amir’s creations raise ambiguous questions. Are they fashion or architecture from another time? Are they apparel or abode? The textures, colors, and shapes by far recall the Amazigh constructions encountered in the towns lying in the southern part of North Africa, from Morocco to Egypt.
Amir works on a garment as if he were working on an animal hide. Taking wool, raf a, and silk, he submits them to a speci c treatment. They undergo a transformation in order to be adapted or readapted to life. Before reaching the public, they are submitted to an initiation process. They are dyed with henna, dried pomegranate peel, and indigo. Sometimes they are treated with alum. Yet those who know these materials and the many ways in which they are traditionally used know that many women use them to tan animal hide and strengthen their own skin.