Elias Riadi: A visionary of Amazigh futurism

What does Amazigh futurism mean? Elias Riadi is answering the question through his fashion label, ITERMORA, which is retro sci-fi, grunge and, our favourite, social commentary. Born in the UK to Moroccan and Greek Cypriot parents, Elias’s work in film, fashion and creative direction draws from his roots in North Africa and the Mediterranean, though his vision has made waves globally. Rising to prominence as one of the founding members of the globally renowned fashion web series PAQ, and now working on ITERMORA, Elias’ work is an example that art and fashion can serve as a key vehicle to express indigenous worldviews. 

His self-funded fashion label, ITERMORA, was born after a transformative trip to Morocco in 2020. There, Elias reconnected with his Amazigh heritage and the country’s wondrous history of astronomy, giving way for his desire to tell untold stories of his people through fashion and film. Distinctly futuristic, Elias’ work is not rooted in fantasy but in indigenous narratives, art and historical knowledge. “I needed to connect back to my Moroccan roots being from the diaspora, looking deeply within myself and spending years researching my Amazigh history and culture,” Elias shares with Dazed MENA. “The more I learnt the more I understood my inner purpose, allowing me to know where I come from to know where I need to go.”

The brand’s debut collection, Orion Au Sahara 2970, exemplifies this balance. Shot in Southern Morocco’s Stadt des Orion, the collection features desert-ready garments that channel nomadic Tuareg warriors and retro-futurisms. Beyond being stunning in their anachronism, the clothes from this collection are loaded with symbolism. The pieces reflect Morocco’s celestial heritage through the use of 3D rendering software and laser-cut fabrics. “Being North African and Greek-Cypriot, both cultures are of ancient origin enriched in mythology, astronomy, philosophy, architecture and the arts,” Elias tells Dazed. “I’m compelled to tell these stories through my work, having historical bases but also interpreting modern culture, and a sci-fi future through the mediums of fashion and film.”

But for Elias, living fully is just as important to his creative process as the stories he draws from his own cultures and histories. “I think as creatives sometimes we get so caught up in the work element that we forget our art is a reflection of our life, so I try to live fully in every aspect of life and have as many varied experiences and feelings I want to invoke within my work.”

More than anything else, Amazigh culture continued to feed Elias with ideas and he soon became inspired to create his short film. Titled The City of Orion, the film is a folklore tale set in the Sahara with a majority Moroccan crew. The creative director made sure to cast locally, with Amazigh model Salima El Mahraoui as the face of the brand and Moroccan Amazigh singer Malika Zarra as one of the leads. With Western sci-fi films typically shot in South West Asian and North African (SWANA) deserts, Elias is refreshingly reclaiming the landscapes in shooting a sci-fi of his own with his people on their ancestral land. “I delved into the rich tapestry of North African history, paying particular attention to indigenous narratives, traditional artistry and the profound connection the cultures have with astronomy,” he explains to Dazed. “I then weaved the narrative of our history into a story of the future, from reinterpreting our indigenous face tattoos, motifs and make-up to the pigments of indigo blue and saffron red prevalent within our fabrics.” 

Elias has no shortage of ambitions and they certainly don’t stop at fashion and film. His long-term vision includes creating lasting cultural institutions in North Africa. The designer hopes to one day build a film and art school in Morocco to foster local talent and provide a platform for the next generation of creatives from the region. An Amazigh museum is also on his horizon. “There is a complete lack of preservation and exhibition of our culture in these spaces,” Elias explains to Dazed. “There’s a lot to achieve beyond what I can even summarise.”

His hopes for the SWANA creative scene are similarly bold. “I hope to see it rise exponentially with more opportunities, infrastructure, more talent support and established and the cultural scene to have real global reach,” Elias declares. “The art, talent and stories coming out of the region are pioneering new narratives. It’s important not only for ourselves and our community in the region, but globally it’s refreshing for unrepresented narratives to come to the forefront in a similar sea of Western perspectives, progressing world culture and views stripped from stereotypical agendas.”

Dazed is not the first to recognise Elias’ innovation; the creative director was awarded a place in the British Fashion Council’s choice of New Wave: Creatives. Still creating content for brands like Margiela, Burberry and Moncler, his talent has been felt on a global scale. But the filmmaker’s most important work yet is in creating a new story for the Amazigh identity. Elias is literally redressing its ancient past in futuristic garments and narratives, giving it new life that asserts Amazigh tradition is very much alive and thriving.

Ever-reaching for the future, Elias is just at the beginning of what promises to be a long, rewarding career. “I want to continue to encourage others to connect back to source and inspire the infinite wonder of what could be,” he concludes. “To keep imagining reality.”