Nja Mahdaoui. Photo by Ammar Abd Rabbo. Tunisia 2009
Born in 1937 in Tunisia, Nja Mahdaoui is a visual artist, a “choreographer of letters”, and an explorer of signs. One of the major Arab contemporary artists of our day, Mahdaoui keeps his focus on the future with an open mind and an open heart. Aptly, among his various recognitions, he is a member of the International jury committee of the UNESCO Prize for the Promotion of the Arts. Here, Mr. Mahdaoui with a voice that dances with vibrant energy, speaks exclusively to Style.com/Arabia and recounts his most recent collaboration with fashion designer Marios Schwab which was presented at this past London Fashion Week.
Maqam Essafa, Lost wax bronzed sculputre, realized at Susse Foundry, Paris. Edition of 4, 22.5 Karat gold
First and foremost, this was a partnership—an excellent partnership. And a beautiful experience!
“Corps écriture” (body-writing)
To begin, I always thought that signs, not necessarily calligraphy—but signs go very well with the body. “Corps écriture” I call it. I have always been interested in the beauty—the plastic beauty of words and the body. With Marios Schwab, we brought to fruition a collaboration on the subject of embroidery, which leans towards a modernized tradition, rather than a contemporary action.
In 2011, my first experience with the fashion industry came about with the photographer René Habermacher. René asked that I imagine a choreography for the movement of the body for the French magazine Numéro. The model was Naomi Campbell and she was dressed by Tunisian designer Azzedine Alaïa. It was an incredible experience.
Mediterranean tradition
To go back to Marios, when he got in touch with me—as I think he saw the pictures and the video with Naomi—first, I wanted to see what he was doing. After witnessing his work, I felt—if I can be frank—that his work was extraordinarily modern, while all the while maintaining a respect for tradition. I call this the “Mediterranean tradition”. Through his work, I could feel a sincere pursuit to modernize tradition. Immediately, I said yes to the prospect of collaborating. Then, when we would discuss the project, I wanted to understand his approach. The way he looks at the body, his eye, his stance on tradition, and more importantly, what does he want to have the viewer, or the wearer, take away, feeling-wise from this tradition. I accompanied an idea and my approach is a reaction to what I saw.
Design for Numéro Magazine. Photographer: René Habermacher, Model: Naomi Campbell, Designer: Azzedine Alaia
After seeing his previous collections, I asked myself, “How can we dress up the body in a way that is supple, elegant, and above all, modern, by adapting certain symbols that evoke tradition?
Intertwined cultures, blended signs, and interaction
You know, when people say, “young paintings”, it doesn’t mean that the painter is young. It is about embracing modernity, and keeping the mind open about the future. Why did I say “Yes.” and go along for this ride with Marios? Because I could feel that he was open to universal ideas and that is what intrigued me.
Collaboration with Designer Marios Schwab for Fall 2013. “Calligrams”
This work that we created (for the Fall 2013 collection) offers the opportunity to speak to people with signs that are universal, that evoke a feeling. These symbols that are morphed through Arabic calligraphy go perfectly with the embroidery, designs, and with the lines of the body as presented by Marios Schwab, a man who embraces the spirit of universality. The future belongs to intertwined cultures, blended signs, and interaction. If we do not walk through this open door, there will be closure on words, cultures, and on our actions, in all parts of the world.
From this point of view, it is imperative that the culture and aesthetic of fashion become a universal language and a means for communication, so that civilizations evolve in the context of meanings between referential symbiotic carriers of both traditional and modern times.
