Changing the Game: Karim Bouziane x Algerian Fashion Heritage
Karim
Bouziane is an architect and digital artist, he is currently working on a design project at EESAB, focusing on the preservation and protection of Algerian vestimentary heritage in virtual spaces. Vestimentary heritage is the cultural and historical significance of traditional garments, practices that have been passed down through generations.
Nada Hamri led this coversation with the talented and critical Karim bearing this main question in mind: can the representation of Algerian historical garments in virtual spaces speak about living fashion heritage?
Edits by Isabella Tranter-Richards ©
1
Tell us about you, your professional path and how this idea came to you?
K: My name is Karim, my interest in traditional clothes started during my final year in architecture while specialising in the architectural heritage for my master’s. I conducted research on historical sites, which naturally led me to explore the clothing associated with these places. These garments tell a story just as much as the architecture itself.
Karim is an ex gamer- This started his interest in the digital space.
K: I have noticed that despite the limitless creative possibilities in virtual spaces and video games, the clothing options were often contemporary and heavily influenced by American culture. From my own experience, I remember playing Cossacks [Cossacks: European Wars is a real-time strategy video game Players must avoid famine and engage in army expansion, building construction and simple resource gathering.] as a kid, the rare moments I’d see characters wearing traditional clothing, they were always old men and women, powerless, running around in panic at the slightest attack. That made me question the lack of cultural diversity in virtual spaces.
Always a man of action, Karim decided to start creating digital traditional clothing himself.
This is why I started my “REVIVING HERITAGE” series, [a project that blends tradition with modern technology by creating digital versions of traditional Algerian garments]. I focus on rediscovering abandoned traditional garments, restoring them virtually, and giving them a new digital life. My goal is to raise awareness about traditional fashion, advocate for the fusion of heritage and digital design, and bring our culture with us into the future. This initiative not only highlights the beauty of my Algerian heritage but also redefines the way we engage with tradition in an era of limitless creative possibilities.
Courtesy of Karim Bouziane ©
“To truly understand Algerian fashion beyond costumes or traditional practices, the West needs to engage with contemporary Algerian designers. Algerian creatives who are actively shaping its future.”
— Karim Bouziane
2
What is your relationship with your own fashion heritage? How are crafts involved?
K: I grew up seeing traditional clothing being worn at wedding ceremonies, where they always drew a huge attention. I myself wore them during special occasions like Eid and Ramadan. I’ve always had a balanced relationship with traditional clothes; I wouldn’t wear them daily, but whenever I had the chance, I did so with pride.
Working on preserving my heritage virtually has strengthened this connection to my traditions and allowed me to see them from a new perspective. I now appreciate their cultural significance even more.
Courtesy of Karim Bouziane ©
“We are traveling to the Sahara to explore a small part of this majestic desert. The traditional dress, Tisaghness, is a distinctive garment deeply associated with the cultural identity of the people living in the Sahara. It is rooted in the traditions and practical needs of desert life. Tisaghness is typically made from lightweight fabric, chosen for its breathability and ability to protect against the desert’s intense heat during the day while providing warmth during the cool nights. Known also as Melhfa or Lizar, this long, flowing garment wraps around the body, covering the head and shoulders while leaving the face uncovered.
Tisaghness is worn daily by women in the desert, but it also plays a significant role in traditional ceremonies, such as weddings and religious gatherings. For such occasions, it may be paired with silver accessories.
Wearing the Tisaghness is a symbol of identity and cultural pride, particularly among Sahrawi and other Saharan communities in North and Central Africa.”
3
In the process of digital creation, how do you actually express your identity?
K: I consider myself a futurist, I’m deeply into new technologies, and typically, people like me tend to focus on what’s ahead rather than looking back. But for me, the past holds just as much value.
My goal is to bring these traditions into the future digitally and reinforce diversity in virtual spaces. For once, we’re not limited by specific fashion standards or industry norms. So, I’m not just recreating the past, I’m reimagining it. My identity is deeply rooted in this duality, being fully immersed in the future while carrying the Algerian influence I grew up with. Digital representation allows me to preserve and reinterpret my cultural heritage in a way that feels relevant today and in the future.
4
N: How do you think Eurocentric fashion systems can improve their understanding of Algerian local fashion and not just costume or traditional practices?
K: To truly understand Algerian fashion beyond costumes or traditional practices, the West needs to engage with contemporary Algerian designers. Algerian creatives who are actively shaping its future. Whether this is through digital fashion, streetwear inspired by traditional Algerian clothes, or garments that blend old techniques with futuristic materials.
There’s a whole movement that goes beyond what is typically shown.
A real shift would require more representation, collaboration and research. This would create spaces where Algerian voices tell their own stories and contribute to global fashion in a meaningful way.
Courtesy of Karim Bouziane ©
“In West of Algeria, El Blouza, is a traditional women’s garment originating from Oran (Wahran) .
The blouza is known for its elegant, flowing design, typically made from luxurious fabrics, showcasing detailed patterns and motifs that reflect the aesthetic preferences and craftsmanship of the region. It has variations, including the most central and expensive variation, the bridal golden silk Blouza called Blouzet El Mensouj.
The blouza is a symbol of femininity, grace, and cultural pride in Algerian society, especially in the western parts of the country. Over time, El Blouza has evolved and adapted to modern fashion trends, but it still maintains its traditional roots and significance in Algerian culture.” Karim Bouziane
But who is Karim Bouziane? Karim is the kind of person who can talk digital textiles and Tisaghness in the same breath—and make it make sense. A visioner with roots sunk deep in heritage and eyes fixed on what’s next, Karim isn’t just remixing tradition, he’s re-threading it into the digital fabric of tomorrow.
A self-proclaimed thrifting enthusiast, Karim’s personal style leans toward practical and low-key. Think comfort with a whisper of heritage. But digitally? That’s where he lets loose. His virtual creations burst with imagination, reimagining ancestral garments in impossible silhouettes, textures, and timelines. It’s not cosplay. It’s cultural storytelling with a keyboard and stylus.
5
Thrift or New? Your fave thrifting/traditional shop in your city. Why?
K: Definitely thrift. I only buy new clothes when I truly need to. I don’t have a specific go-to thrift shop because you can find hidden gems anywhere; you just have to explore and discover them. That’s part of the fun.
How do you perceive the connection between your own outfits and what you create digitally? Where does inspiration come from for both?
K: There’s definitely a connection, but it’s not always direct. In my daily outfits, I lean towards comfort and functionality, but I still love incorporating small elements that hint at my heritage.
Digitally, I have no limits I can push creativity further, reimagining traditional clothes in futuristic contexts, experimenting with materials, forms, and body morphologies that wouldn’t be possible in real life. My inspiration comes from the memories of traditional clothing, combined with my passion for technology and digital art. In a way, my digital creations allow me to explore a version of my identity. A version I don’t always get to wear in everyday life. It’s a space where heritage and the future can coexist without compromise.
On a probably contrasting with the general mood but still necessary serious note, I guess today it is indeed extremely important to talk about the relationship between the heritage of fashion and the digitalized space in which we live. Are there any gaps in this research field that need to be filled? How can they be filled by the collaboration between researchers and practitioners? The gamification of cultural — in this case fashion — heritage is a very fertile ground, as highlighted during our conversation with Karim. Digital devices act as grounds for the reinvestment and the questioning of the presence and importance of concurring fashion narratives that disregard the constructive systems and policies of Western heritage, embracing a vision of fashion heritage decentralized, porous and multifaceted. Within this frame there is a continuous dialogue between past, present and future.
Karim is an innovator with his eyes firmly on the future, yet his mind and soul bridging the past with the present. Speaking to him could change the heart of even the most passionate Luddite. Because maybe we don’t have to sacrifice our heritage and history to make way for progress, maybe we can have both. As long as there are people like Karim, the future looks brighter, and it still wears the Gandoura, although this time with an Apple Watch.
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