Looking at the world. Through the sunset in your eyes. Trying to make the train. Through clear Moroccan skies.
It was where the Rolling Stones came to unearth the Berber and North African sounds that would influence their future music; where counterculture guru Timothy Leary tuned in and dropped out; where pioneering Beat Generation writer William Burroughs camped out to pen his wild romp Naked Lunch; and where jet-setting swinging Londoners, Talitha and husband Paul Getty, built their infamous Pleasure Palace and, with their wardrobe of billowing caftans and exotic brocade, cemented their boho style icon status for generations to come. In late 1950s and ‘60s Morocco, magic and mysticism was in the air. And it was into that scene that Yves Saint Laurent first descended in 1966, gliding into the La Mamounia hotel with partner Pierre Bergé. So fervently did he fall under the spell of Marrakech, that he never left, eventually restoring the now legendary Jardin Majorelle. The enchanting city’s influence would creep into Laurent’s collections throughout the ‘70s, expressed by way of a saturated color palette of pinks, yellows, and Majorelle blue, and traditional Moroccan elements like the jellaba and the tarbouch. Many decades later, with the launch of Anaak’s Fall 2017 collection, Marrakech (and ‘70s-era Laurent too) has played diviner once again; the muse for languid silhouettes that project an inner confidence, as captivating in their intention as they are subtle in their reveal. And for Anaak’s first foray into prints, they looked even further east to India, adopting the traditional centuries-old Ajrakh block designs of the craftspeople in Gujarat. There are voluminous high-necked dresses with neat pintuck pleats; a lustrous block-printed bias-cut dress; evolved shirting with gathered sleeves and perfectly slouchy paperbag-waisted bottoms with leather accents; a shimmering copper lame ensemble cinched at the waist and outsized chunky knits and natural khadi cloth handwoven by a women’s weaving cooperative. Edith Wharton wrote of Morocco in 1920: “It appears to exist in its very own light, a light of preternatural purity which gives a foretaste of mirage. It’s the light in which magic becomes real.” This collection also exists in its very own light, a magical dreamscape of its own.
Photography: Stella Berkofsky
Model: Nicole Spagnola
Styling: Sissy Sainte-Marie
Hair and Makeup: Tsipporah Liebman
Accessories: Faris, Gray Matters
Words: Fiorella Valdesolo