Past at Last Taẓeṭṭa Tazedgant sɣur Tihana Miksa

Past at Last Taẓeṭṭa Tazedgant sɣur Tihana Miksa d anerbaz yettwaqadren meqqren n 2021 Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Tnaflit n Afeṣṣel n Tmuḍa, Iselsa d Iceṭṭiḍen.

LfeṭṭaTamuḍa· 2021

Past at Last Taẓeṭṭa Tazedgant

sɣur Tihana Miksa

Amsaɣ: Tihana Mikša

Anerbaz n Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Tamuḍa

36,948

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #113802

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Past at Last Taẓeṭṭa Tazedgant

Asussen deg timesdus n teqcicin yella ɣef tiẓri tizeggaɣin n wurar d usemmi ur nerrem ara. Ɣef waya, iḍebṣiyen s yiman-nsen gan imeṭwayen, iɣefranen d telɣiwin tigzamin war kra n timsismin yewɛaren i twuri. Tiɣawsiwin-a ttnadint aɣruf azziri, annay, taɣawsa, amussu yeddren d tsersemt n yiẓɣaren. Initen gan ixwan deg tezmert, neɣlamen, ḥaca izegzawen i d-ittazzalen deg tugna-ya tacemmat.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lfeṭṭa

Past at Last Taẓeṭṭa Tazedgant d amerbaḥ n Tarbaḥt A' Design Award n Lfeṭṭa, tagmat ɛlayen i yisnulfa yelhan, yeḥlan s waṭas. Imerbaḥen n Lfeṭṭa d isnulfa yelhan akk, yesɛan tmusni d tazmert. Past at Last Taẓeṭṭa Tazedgant ad yili d asnulfu amaynut, yelhan, ad yeǧǧ ddunit tennuɣ.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: The emphasis in the clothing compositions is on rich, playful textures and uneven coloration. As a consequence, the garments themselves are symmetrical, simple and closed forms without any demanding interventions to the structure. These objects examine the visual aspect, tactility, materiality, living motion and the architectonics of textiles.
The colours are low in intensity and achromatic, except reds that pulsate within this pale spectrum.
Tibzimin: basketry,wool,mould,seamless,textile,handpainted,handmade, handpleating, sashiko, nuno felting,aperture, finishes
Tasnakta n Ufares: The textile is structured through various pleating techniques, improper and proper stitching, hand tinting to achieve noble tones, treatment with acids, wax, burning, patching, sandpapering, drilling, basket-making and finishes.
Asewḥel n Usnulfu: Perhaps this no longer matters, but we still care about values, about something that goes beyond our mere existence in the here and now, even when it comes to dressing. What we use to shroud our body, how we seem and appear in front of others, and what we communicate and convey in this manner, this will continue to matter about as long as we share this world with others.
Tihana Mikša Perković is aware of this, and in her quest for clothing worthy of man she intervenes in history as well as in modernity, in the continuity of life finding the only real source of inspiration. Her inspiration are folk costumes from Croatian regions which she interprets in a contemporary key, by applying contemporary textile processing techniques.
Aseḥbiber: The man of tradition is closely linked to the rural way of life, as can be seen from the regional diversity that result from geographical location and the set of natural givens.
It was my intention to follow in the footsteps of our ancestors and to commit myself in a contemplative and repetitive, as well as time-consuming manner to the overall creation of each costume. In actual fact, my intention was to slow down, to be part of the process, and not just a consumer of finished impersonal and alienated clothing.
Tanzagt n Usenfar: 10.03.-26.03.2016., Zagreb, Ulupuh Gallery
Imsuren n Tugniwin: Photo Vanja Šolin
Hairdress and make up Dalibor Šakić
Model Hana F.M.