The set of three djellabas by the artist celebrate the attire of Berber
origin, very widespread in the Maghreb countries. The djellaba, a long tunic,
sometimes with a hood, is exported to Europe and mingles with the habits and
customs of Western fashion. In his work François Curlet performs a synthesis of
this phenomenon by applying sports brand logos to the traditional clothing. The
tunics are presented on mannequins, the usual object present in shop windows;
they are made of synthetic material and sport the typical zips of sportswear
outfits, which became popular in the 80s with the Hip Hop movement. The artist
brings together the characteristics of the djellaba with those of sportswear in
a single object, both attires appreciated for their comfort
The
explanatory leaflet of the item specifies that it is a “generational
superposition of the Muslim communities: association of traditional clothes and
brand sportswear"[1]. The formal device put in place and the
identity-based sense of belonging of a youth that oscillates between two
cultures are juxtaposed. François Curlet’s djellabas testify to the feeling of
non-belonging of a whole generation that does not recognise itself in the model
of the country of origin nor in the society in which it tries to exist. This duality,
translated with humour by the artist, highlights the need to invent new forms
of belonging, compatible and appropriate to sociocultural transformations.
François Curlet thus tries to solve a paradox by bringing together signs and
forms anchored in both traditional culture and Western consumer society.