Any fashion that is lucky enough to fall under the influence of three civilizations are certain to be an extraordinary blend of style and chic. Algeria sits at the crossroads of three worlds, Arab, Mediterranean and African, and Algerian fashion has long been influenced by the fact that its unique location has been a place of historic meetings and exchanges.
Not surprisingly, Algerian designers have succeeded in combining the culture traditions with the influence of the environment of the country. These influences have found their way into the fashion industry and have foreshadowed several changes in the choice of color, design and pattern.
Women's costume in particular, successfully combines flamboyance, utility and elegance. There is a strong emphasis on intricate decoration and colors. The use of colorful fabrics for clothing stands out against the predominant surrounding earth tones and the Algerian woman has kept her love for color and brightly colored patterns. Reds, yellows, greens and blues as well as many other color combinations are combined and finely embroidered with gold and silver threads.
The Karakou is a typical traditional dress and incorporates a velvet jacket embroidered in gold and silver worn with the traditional saroual (Arab pants) and comes from Algiers, the capital of Algeria.
The Blousa from Tlemcen, West Algeria is a full-length, straight-cut dress made entirely from lace and sequined chest.
The Djeba Fergani is the traditional dress from Constantine in the eastern side of the country. This dress is always made with velvet and embroidered by gold and silver thread. The sleeves can be made of lace. In the central region of Tizi-ouzou, the dress is mainly made from cotton and is completely embroidered at the neck and bodice as well as at the wrists. However, it is at wedding and other special occasions that these traditional dresses do justice to the affair. Distinctive jewelry is also worn.
The fact that these forms of traditional dresses are still used is a tribute to its comfort and suitability for the climate. It also points to the pride that Algerians take in the tradition of their ancestors and their identity in the modern world.

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The emergence of copperware in Algeria dates back to the Middle Ages. It reflects a variety of successive styles and a major Turkish influence.
The copperware trade which relies on copper sheets to produce or decorate art objects, has been perpetuated around casbahs and communities devoted to that art. Vases and containers of unrivaled beauty from Kirouana to Mahbess and Tassa to Taftal demonstrate an incredible range of ornamentation.
Algiers, Tlemcen, Constantine, and to a lesser degree Ghardaïa and Tindouf are the main sources of this art form. For example, in spite of the passing of time and the disappearance of the famous Zenkat Ennahassia, Algiers is considered the birthplace of this art form, inherited from the Ottoman Empire. Among its specialties are Mahbess, Berreds (teapots), tebssi laâchouets (couscous steamers with a conical lid), l'brik and tassa (used to perform one's ablutions), El Mordjen, El Mahrez (pestle and mortar) and S'nioua (copper or silver tray).

The Ottomans, who lived in the city for many centuries, have influenced the art of Constantine known for its huge oriental-like decorative trays. Mahbess, Soukkhna, Cafatira, Kirouana, M'rach, and El Kettara are icons of this art form. They are produced by the skilled hands of brilliant artisans. They are, in fact, toiletry items used according to urban traditions.

Like Constantine and Algiers, Tlemcen has seen age-old Andalusian art, once under oriental influences, develop according to Almohade traditions, which clearly confirms the considerable artistic talent of this multicultural region able to combine authenticity and originality in specialized applications such as bookends, chandeliers, large trays, or the now famous door knockers, vestiges of a rich art form.

Ghardaïa and Tindouf are lesser-known centers of production of this art but they are deserving of a visit. As a matter of fact, the M'Zab valley, a highly dynamic cultural center, has found its niche. The production of coppersmiths is nonetheless limited to everyday utensils such as kettles and trays.

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Inspired by a variety of sources, jewelry is the living testimony of an age-old creative force. From prehistory and antiquity to the Middle Ages, from the Roman-Byzantine era to the emergence of Islam, traditional jewelry has always expressed the very essence of those eras through harmonious symbolism Not so long ago Algiers, Tlemcen and Constantine were vibrant jewelry centers, if only because of the sheer number of stands and shops. Other regions are also known for the quality of their jewelry.

 Kabyle jewelry (Béni Yenni)

Ath Yennis are famous for their silver jewelry. The forms and colors used are specific to the region. The glazing technique was introduced around the 15th Century. One could proudly show off a renewed Ameslukh, Ikhelkhalen (anklet), Taharabt, Tbessaht, Letraks, Tigwedmatin, Adwir, Tbzimin, or Tabzimt.
* Chaoui jewelry

While of a different shape than Kabyle jewelry, "full" or "hollow" Chaoui jewelry has stood the test of time yet it has managed to preserve its authenticity. It is defined by the "Alaq Tchoutchara" (earring) that is sadly not made anymore, the Timcherreft (also an earring), the Korsa Bel Quota, a more recent creation, "Amquyas," the Abzim, whose close resemblance to the Kabyle fibula can surely be rooted in an obvious ethnic analogy, the Lamessak, a recent creation true to the Chaoui style, the Tinahissin, the Cherketh or Semsem, the khelkhal (ancient ankle bracelet that women from the region never take off), the Guerrar, the Skhab, or necklace, to be found throughout the Mahgreb region.

* M'sila jewelry

This tradition that very closely resembles Chaoui jewelry of a hybrid style, with Roman and Byzantine external influences, and is based on traditions pertaining to daily life and the environment. Besides the Akhelkhal, one can find Abzims and necklaces whose main characteristic is a close resemblance to Chaoui jewelry, although of a less refined style.

* Tuareg jewelry

This jewelry reflects a well-preserved and wisely maintained tradition, thanks mainly to the legendary Inadens. It attained mythical social status. The Tuareg society is truly devoted to artisans and noble trades, such as jewelry. Its symbolism echoes the perpetual quest of the Tuareg to control natural elements. Pendants, rings, pectorals, earrings, anklets, brass rings, and shell necklaces are all loyal representations of a bygone era. One should also mention the Tareout, Tasralt, Tineralt, Khomessa, Tareout N'azeref, Tiseguin, Ihebsans, and Asarou ouam Afer that combine utility and pleasure reminiscent of nearby Black Africa by their mystical aspects. Tuareg jewelry reflects a constant concern for pure aesthetics.

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Pottery is a continuously evolving art form. Thanks to the contribution of successive Algerian civilizations, one can detect the influence of the Berbers, of the Arabo- Muslim and oriental cultures, as well as easily noticeable Turkish nuances and "Hispano- Moorish" characteristics Guelma, M'sirda and Ait Khlili are some of the Algerian regions renowned for the quality of their clay deposits which are non-existent in other parts of the country.
Situated in eastern Algeria, the first region is famous for its kaolin deposits of white clay that is reserved for the production of fine porcelain. The second region, closer to the Moroccan border, and the third region of the Great Kabylie share honors for excellence.
While pottery production methods are similar from one region to another, some variations do occur giving this art form myriad facets. Pottery making is practiced in many Algerian regions, more often than not in mountainous areas.

* Pottery of the Sahara
The least known of all pottery types is based south of Adrar, in the old Ksar of Tamentit, and is commonly referred to as "black earthenware." Best known are ram head shaped ashtrays crowned by a solar disc. From Béchar to Béni Abbès, and Timimoun to Touggourt one can find ancient pottery reflecting the architecture of the regions mentioned.

* Pottery of the Great Kabylie
Of renown fame this pottery is defined by common traits and a certain likeness. Whether originating in Mâatkas, Bourouh or Ath-Kheir, Berber pottery uses the same symbolism. It combines simplicity, functionality, solidity, water-tightness, aesthetics and human values. Its forms and ornamentation draw from rural cultural symbols and feminine sensibility. The color red is prevalent.

* Pottery of the Small Kabylie
This pottery is characterized by a wealth of shapes and themes as well as a tremendous creative force. The color red is used sparingly and judiciously. True to its environment, alternately mountainous and coastal and open to all civilizations such as those of the Phoenicians, Romans, and Turks, it shares a likeness to the pottery of the Great Kabylie. It combines strength, functionality and charm.

* Pottery of Chenoua (Tipaza)
The influence of the sea is pervasive. Roman and Phoenician artistic heritage also prevails in the region. However, the traditions seem to be fading away.  Pottery from Eastern Constantine This pottery is created from the major kaolin deposits in Guelma. In some locations, from Hammam Maskhoutine to Skikda, one can find very old pottery decorated with agrarian symbols and commonplace objects. Such pottery is marketed on a large scale.

* Pottery from the Aurès Mountains
This pottery is formed in austere shapes and colors reflecting the surrounding environment.

* Pottery of the Némemchas
This pottery is shaped from pinkish clay and is decorated with brownish drawings, and is left unvarnished. This art form was threatened by lyrical improvisation that distorted the original look of this aesthetic pottery.

* Pottery of M'sirda
This pottery is made of high quality clay with sober ornamentation and is given a smooth profile.

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After surviving unscathed for centuries, traditional Algerian rug-making has now blossomed to its full vibrancy. For this trade, time has stood still. Authentic shapes and styles have been preserved even if some rugs show slight hints of modern influences.
The range of rugs available clearly demonstrates the Algerian cultural melting pot.
Rugs can be of Berber, Maghrebian, Arabo- Muslim, African, or even Oriental inspiration.

* Rugs of Eastern Algeria
The shapes of rugs of Haracta (Aurès) and Némemcha-Babar (Tébessa-Khenchela) are so similar that distinguishing them is no easy task. Even more so the latter, with its Berber-Oriental symbolic ornamentation, is reminiscent of the legendary Haracti rugs, rooted in everyday life, after the near disappearance of all Chaoui influence.

* Rugs of Small Kabylie
Maâdid (M'sila – Bordj Bou Arréridj) and Guergour (Sétif- Béjaïa) rugs, with their Berber symbols, show the same Oriental influences, however slight, reflecting the various civilizations that have blossomed in the region.

* Weavings of Great Kabylie
The most magnificent weavings are undeniably the rugs of Ain Hichem (Tizi-Ouzou), which combine delicateness and refinement, swathed in folk and rural imagery.

* Weavings of Oranie
Created with soft and varied tones and gorgeous nuances, these rugs show slight Berber and Hispano-Moorish influences. The rugs of Kalaâ des Béni Rached are the most famous of all Oranie. They are an authentic, high quality product, and probably the best product of its genre in the entire Maghreb region.

* Rugs of Djebel Amour
Made with stunning ingenuity in terms of the complexity of weaving, they are one of the most magnificent specimens in Algeria, famous for their originality and motifs of Berber inspiration. Extremely sober in style, they are defined by a harmonious balance seldom

* Southern weavings
Oued Souf (El Oued –Guemmar) rugs are characterized by Ottoman influences and borrow from Némemchi rugs. Those of Béni-Isguen (Ghardaïa) are world-renowned thanks in part to very effective marketing. Doukkali (Adrar) weavings and those of Timimoun, date back to 1270 of the Hijra and still use original designs.
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With artists such as Abdelhalim HEMCHEB, Azouaou MAMMERI, and later Mohamed BOUZID, Bachir YELLES and Ali KHODJA, Algerian paintings of occidental inspiration were quite remarkable, well before Independence.

Moreover, thanks to the Racims, Algerian miniature and illuminated art forms developed at an accelerating rate. One must point out the role played by Mohamed Racim in preserving Algerian authentic values. His school suddenly expanded with artists such as Mohamed Temmam, Mohamed Ranem, and Hamminouna as well as new generations of artists who drew inspiration and techniques from this art form.

The figurative trend also owes a debt to older artists. Each in their own way, Racim and
Dinet have greatly influenced this artistic movement that reflected Algerian traditions, social values and daily life.

Baya and Benaboura are representatives of this so-called "naive" painting, which mirrors the Algerian spirit. Zmirli, Samson, Abdoun and many others also adopted this expression of stunning freshness and simplicity. More refined, the creations of
Issiakhem breathed new life into the art world and paved the way for the more abstract works of Khadda, Mesli, Benanteur and Guermaz.

Finally, many other artistic movements flourished throughout the various Algerian regions such as crude art, "El Aauchem" (sign painting), and "Essebaghines", all represented by artists such as Hakkar, Ammar Bouras, Zineb Sedra, Samta Benyahia
and many others.

Dalila Orfali, curator of Algiers' Museum of Fine Arts, characterized the Algerian painting of recent years as follows: "The last decade was defined by the intensification of such trends"

A major revival of artistic activities within the country, dominated by individual techniques, defined the period between the 1990's and year 2000. As such, symbol-free figurative art forms have made a strong revival.

Djemaï, Bourdine, Hafidh, Heinen-Ayech and Chegrane are some of the disciples of this movement. The emerging school of contemporary painting was now spreading to every corner of the globe, carrying a vision which inadvertently rallied historical and cultural heritage patterns such as avant-garde compositions, transient art and others.

Moreover, in the early 1990's, in times of extreme hardship, women did not hesitate to affirm themselves through their writings, even as others chose to remain silent:

_ Malika Modadem's "L'interdite," 1993
_ Mina Bouraoui's "La voyeuse interdite," 1991
_ Leïla Sebbar's "Le silence des rives," 1993
_ Assia Djebbar's "Loin de Médine," 1992

Nadia Ghalem was published in Canada, while other writers were published in Paris or Damascus. Visual arts provide a diversified landscape, accessible to all, in fields such as miniatures and illumination (Racim, Temmam, Bendebbag, Ghanem and Sahraoui), figurative art (Yellès, Baya, Ali Khodja and Houamel), abstract art (Issiakhem, Khadda, Mesli, Guermaz and Hakkar. As a matter of fact abstract art is quickly becoming the expression of choice for those wishing to illustrate the obscure.

Many painters decided to concentrate on landscapes, such as Abderrahman Sahouli, Nedjar Bencheikh, Zermane, Hamchaoui and Chaouane. In the quest for an authentic Algerian pictorial form of expression, some artists were self-taught, some were "naiverealists," and others chose the forms of "photographers."

In the eighties, a new generation of artists such as Sid Ahmed Chabane, Slimane Ould Mohamed, Amar Bourras, Yahia Abdel-malek, Myriam Aït Chehara, and Réda Tebib emerged to enhance artistic expression by using new media such as powders, refined tar, pelts, plants, plastics, wood, and cardboard, thus developing an art form permeated by modern technologies.

One could hardly find a direct reference to the city's landscape in Nadia Laggoune's "Alger dans la peinture."

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Leatherwork is well established in Algerian regions where husbandry is done on a large scale. These arts and crafts are geared towards the production of footwear, belts, horse and camel saddles, containers, pillowcases, sword scabbards, and flywhisks.

* Leatherwork of Tlemcen
This craft owes a great deal to the local embroidery and sewing heritage. Greatly influenced by Andalusian culture it remains a stronghold of Hispano-Moorish art.

The leatherwork of Tlemcen is famous for its motifs and forms used in boots, saddles, satchels, wallets and other manual items used in everyday life.


* Leatherwork of the Deep South - Tamanrasset
In this region know-how is organic, mystical and a reflection of the vast surrounding spaces. Inspiration is always glimmering and the product is of very high quality.
Whether an Arreg (travel bag), El-sedira (saddlebag) or Tarallabt (wallet) perfection prevails.

* Leatherwork of Médéa
Synonymous with expertise and refinement, Médéa was once famous for its leather moccasins, harnesses, saddles and belts. Wallets, cigarette holders, and bags embroidered with gold and silver thread were eventually added.

Artisans are desperately trying to uphold traditions but trade modernization based on foreign models prevents them from returning to earlier designs.

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