Flora Octopus Tabzimt sɣur Nana Watanabe

Flora Octopus Tabzimt sɣur Nana Watanabe d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Lḥelya.

LbrunzLḥelya· 2026

Flora Octopus Tabzimt

sɣur Nana Watanabe

Amsaɣ: Nana Watanabe

Anerbaz n Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Lḥelya

8,245

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #176096

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

Initen

Afeṣṣel

Ɣef Flora Octopus Tabzimt

Tabzimt Flora Octopus tesdukkul lḥely amiranan d ufeṣṣel yettwaxeḍmen s uxiyyeḍ, tessken-d talɣa tafessast maca teččuṛ, i d-yekkan seg tudert taḥeryeqt i d-xelqen deg lexyal. Deg umkan n uzzalen neɣ n yeblaḍen imezwura, tseqdac lexyuḍ irecyaklen d worganza akken ad d-texleq tira, tarusi, d unekkar unṣib. Lebni n uxiyyeḍ s tlata n yiswiren yesbeggin-d tanezdukt d usnulfu, ma d ustezyi ameɛnaɣu n yiniten yettbeddil axiyyeḍ d allal n ufeṣṣel. Tabzimt-agi tettili d rrunda d wawal ɣezzif ɣef tiss!, tessedday tazuri d tmusni n twennaḍt deg lḥely amiranan.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

Flora Octopus Tabzimt d amerbaḥ n Tarbaḥt A' Design Award n Lbrunz, tagmat ɛlayen i yisnulfa yelhan, yeṭṭafaren tinawt, tamusni d tezmert. Imerbaḥen n Lbrunz d isnulfa yelhan, ttbanen d timusniwin n tmusni n yimahilen-nsen. Flora Octopus Tabzimt ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Flora Octopus Tabzimt yettemlil ɣef yimawlan, yettwaɛezzen s tmahilt-is.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

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

Taɣara Tasuft: Flora Octopus Brooch combines textile embroidery with sculptural jewelry design, creating a lightweight yet voluminous form that resembles an imaginary marine creature. Unlike conventional jewelry made of metal or stones, it uses threads to express texture, fluidity, and movement. Its unique fusion of embroidery and three-dimensional construction highlights sustainability and artistry, offering a distinctive alternative in contemporary jewelry.
Tigejdiwin & Akemmus: Dimensions: 16 x 18 x 15 cm
Weight: approx. 10 g
Materials: recycled polyester fabric, brass fittings, nylon.
Despite its voluminous size, the brooch is extremely lightweight, ensuring comfort and making it suitable even for delicate fabrics. The design balances artistic presence with everyday practicality. The packaging is made from recyclable paper, further emphasizing the brand's commitment to sustainability.
Tibzimin: Embroidery, Textile Jewelry, Sculptural Brooch, Sustainable Design, Recycled Materials, Organza, Tulle, Transparency, Nature Inspired, Marine Aesthetics, Innovative Craft, Ethical Jewelry
Tasnakta n Ufares: The brooch is created by layering recycled polyester organza with high-precision machine embroidery, then hand-assembling the pieces into a sculptural form. Instead of relying on traditional jewelry materials such as metal or gemstones, the design employs thread as a primary medium to construct a three-dimensional organic structure. This innovative approach redefines the boundaries of jewelry design, combining lightness, sustainability, and artistry in a single piece.
Asewḥel n Usnulfu: The greatest challenge was transforming soft materials such as thread and fabric into a sculptural form that could maintain its structure. Conventional methods failed to provide stability, which led to the development of an original sewing and assembly technique. Another difficulty was to ensure durability while keeping the piece lightweight, so that it could be safely worn even on delicate fabrics. This was achieved through extensive material research and close collaboration with embroidery specialists. Furthermore, by filling the interior with loosely arranged tulle instead of tightly packed wadding, the design introduces a sense of air and transparency. The inner tulle subtly shines through the outer organza in a gradient effect, capturing the translucent and poetic beauty of creatures that inhabit the sea.
Anadi: This research set out to challenge the historical paradigm of jewelry design, which has traditionally relied on metals and gemstones, by exploring the potential of textiles as a primary medium. Through the observation of natural forms, material experimentation, and iterative prototyping, a unique methodology was developed to sculpt fabric into three-dimensional structures. In particular, the layering of organza on the exterior with softly inserted tulle inside creates an airy volume with translucency and subtle gradients of color. This technique evokes the ethereal beauty of marine life, with its transparent and fluid qualities. The result is a piece that is not only lightweight and sustainable but also expands the boundaries of jewelry, traversing the realms of fashion, craft, and art.
Aseḥbiber: The design was inspired by the organic beauty of marine life, particularly the graceful yet mysterious form of an octopus. By combining floral motifs with oceanic imagery, it symbolizes both fragility and strength, evoking a sense of an imaginary paradise where nature and fantasy intertwine.
Tanzagt n Usenfar: The project began in April 2025 in Fujisawa, Kanagawa, and was completed in June 2025. It was first unveiled at a solo exhibition in Tokyo in the same month, where it was introduced as a new approach to contemporary jewelry expression.
Tanila n Umahil: The brooch is easily attached by inserting the pin through fabric, offering a secure yet lightweight hold that does not damage even delicate garments. Once worn, it instantly transforms ordinary attire into an artful statement, embodying the organic beauty of nature. More than a decorative accessory, it offers a sensorial and expressive experience, allowing the wearer to carry a piece of sculptural poetry as part of their personal style.
Imsuren n Tugniwin: Photographer: Sayuka Tanaka, 2025