A tale of the caftan
«Aux fils du caftan marocain» ( A tale of the caftan) is the new exhibition at the Musée national de la parure les Oudayas in Rabat. This temporary exhibition takes visitors on a journey through the colors, shapes, materials, and techniques of this emblematic Moroccan costume, highlighting five production schools in various regions of the country: Oujda, Tétouan, Fez, Rabat-Salé, and Marrakech.
Some thirty caftans and accessories evoke the different practices used from the 19th century to the present day. These pieces reveal the richness of Moroccan culture and its many tributaries, and provide an insight into the history of the caftan as a heritage rooted in Moroccan traditions. Each piece on display tells the story of a timeless heritage and reveals the craftsmanship handed down from generation to generation.
The «Aux fils du caftan marocain» exhibition enriches the museum’s permanent exhibition, and pays tribute to the ingenuity and creativity of the men and women who help shape our national heritage and take it around the world. This sumptuous garment, deeply rooted in the country’s sartorial habits, has undergone several transformations over the centuries, but remains an essential part of the national wardrobe. Originally a princely costume, it made its first appearance in the 12th century under the Almohad reign. Sober and devoid of sumptuous ornamentation, as the rulers of the time preached a return to the fundamental sources of Islam, wishing to break with the opulence of their Almoravid predecessors, they refused to use silk and gold in their garments. However, under Caliph Muhammad an-Nâsir, the caftan became more affordable.
A census taken for tax purposes counted no fewer than 3,490 weaving workshops and more than 3,000 weavers in Fez. It was under the Marinid dynasty that the caftan took on its finest finery, with the use of fabrics such as brocade.
A prestigious garment, the caftan was offered as a gift to sultans of foreign powers. A list of gifts sent by the Marinid sultan Abu Al-Hassan to the Mamluk sultan an-Nâsir Muhammad cites gold-embroidered garments, with taffeta, wool, stiff silk, and stripes.
The sultans of the Marinid dynasty also sent luxurious garments to the Ottoman sultans, who named them «Fas Kaftanlar» in reference to the city of Fez. Towards the end of the 15th century, the caftan took a new turn with the massive arrival in Morocco of Andalusians expelled from Spain who settled mainly in Tétouan and Fez, but also in Chefchaouen, Rabat, and Salé.
Over time, weaving (tarz) workshops dedicated in part to making caftans flourished. Traditionally reserved for men, it was during the Saadian period that women began to adopt the garment, launching a bold transformation that propelled the caftan to the status of an icon of feminine elegance. Even more sumptuous, the caftan will feature new fabrics such as brocade.
Ibn Khaldun mentions silk garments and belts adorned with gold thread woven in Fez. For men, the caftan was made from cloth imported from England. Sultan Ahmed Al Mansour introduced the fashion for a transparent tunic over the traditional caftan, nicknamed mansouria after its name. This combination gave rise to the now timeless takchita, made up of two pieces unlike the caftan: the first is the tahtiya and the second is called fouqia or dfina or mansouria.
Beyond communities
The quintessential ceremonial garment for Moroccan women (weddings, christenings, religious festivals), the traditional caftan transcends regions, communities, and religions. The traditional garment is also worn daily by Moroccan Jewish women. The Judeo-Moroccan caftan draws part of its origins from Renaissance Spain. The keswa el kebira, worn by brides, is a genuine heritage of this know-how, and comprises three pieces that are a blend of Moroccan and Andalusian influences. The large dress is cut from velvet in different colors depending on the region: green or blue for inland towns, and garnet-red for coastal towns.
Sleeve lengths and styles, skirts and hairstyles also vary from region to region. For example, the «zeltita» is a large skirt with a different cut in different parts of Morocco. A vest or «gomabaz» with puffed sleeves that roll up over the shoulders and, finally, as a breastplate, the «ktef», the most precious part of the outfit, thanks to its rich gold or silver embroidery. Other inseparable accessories include the scarf (sebnia in Arabic) and the crown (swalef), set with pearls, rubies, emeralds, and gold coins.
A.Bo
