In a subtle dialogue between tradition and modernity, Moroccan entrepreneur Rim Amhaj reinterprets ancient tattoo motifs through her innovative lip jewelry brand, Ritersie. By transforming age-old symbols into contemporary, wearable pieces, she both celebrates her cultural heritage and offers a reversible alternative to permanent body art—an approach that has struck a chord with audiences in Morocco and beyond. Ph.Ritersie ‹ › In pre-Islamic North Africa, tattooing served both medical and aesthetic purposes. Beyond adornment, it functioned as a marker of tribal affiliation and a form of protection against the evil eye. Passed down through generations, these practices endured particularly in regions such as the Rif, the Atlas, Jbala, Tafilalet, and Azemmour. In some parts of Morocco, this ancestral ritual survives thanks to its guardians, who reproduce its motifs not only on skin but also on pottery, tapestries, and jewelry. It is within this tradition that Rim Amhaj has developed her lip jewelry creations, reviving ancient practices by reimagining them for contemporary use. Trained in digital marketing and analytics in England, the entrepreneur has long been passionate about art and photography. Born in Morocco and raised in France, the London-based creator says she has never felt closer to her roots than through reconnecting with her ancestral heritage, now given new form in her workshops in Marrakech. For more than two years, Rim Amhaj has been designing lip jewelry inspired by ancient tattoo motifs. More than simple reproductions, her pieces celebrate a tradition deeply embedded in everyday life. In the past, young women were often tattooed from adolescence, their markings symbolizing both protection and social status. Men, meanwhile, bore tattoos representing tribal identity or lineage. Ph. Ritersie Unlike in some neighboring regions where men were more involved in perpetuating these practices, tattooing in Morocco was largely a female tradition. Many tattoo artists were also weavers, using the same symbols in their carpets and textiles, an overlap that highlights the continuity between bodily art and material culture. Conveying heritage through visual language Amhaj's idea grew out of a desire to highlight this intangible cultural wealth, while responding to contemporary interest in piercing, often tempered by reluctance toward its permanence. Speaking to Yabiladi, she explains: «Many people are drawn to the aesthetics of piercing but hesitate because of its permanent nature or the constraints it involves. Ritersie lip jewelry was conceived as a free and reversible alternative, allowing people to embrace this aesthetic language without permanent commitment». For Amhaj, these tattoos carry strong identity-based, spiritual, and social meanings. «By transforming them into jewelry, I wanted to create a dialogue between tradition and modernity, between heritage and contemporary expression», she says. She emphasizes that her goal is not exact replication, but respectful reinterpretation: «The idea is not to reproduce these symbols identically, but to reinterpret them with coherence and respect». These motifs also convey a lesser-documented history of cultural interweaving in North Africa. As Arab tribes settled in the region, some adopted tattooing practices, though with distinct differences from Amazigh traditions. French physician J. Herber noted in Hespéris Tamuda that Berber tattoos are «remarkably varied and detailed, composed of crosses, dots, and circular arcs forming endless combinations». Rim Amhaj, founder of Ritersie Historical sources also attest to the practice among men. Roudh el-Kartas, which chronicles the rulers of the Maghreb, notes that Mohammed Ibn Tûmart, founder of the Almohad movement, bore a tattoo on the back of his right hand. For men, such symbols were typically placed on the hands, forearms, or fingers; for women, on the chin. Facial jewelry as a modern extension of ancestral symbolism Analyzing these motifs, anthropologist Mohand Akli Haddadou, author of Practical Guide to the Berber Language and Culture, highlights their symbolic depth. The diamond represents womanhood, fertility, and fecundity; when paired with the serpent, it signifies the union of opposites. The serpent alone symbolizes life force. Birds evoke the sky–earth relationship and the breath of the soul, while the bull embodies masculine power and fertility. By reviving this civilizational symbolism through jewelry, Rim Amhaj has found growing success. She notes strong interest both in Morocco and abroad. «In Morocco, the pieces generate curiosity and pride, particularly for highlighting local cultural references in an innovative way», she says. Ph. Ritersie Internationally, the originality of the concept and its symbolic richness resonate with audiences seeking meaningful objects. «I'm very proud to have developed my brand in Morocco, in homage to our grandmothers, who have given us so much». Looking ahead, the creator hopes to expand her range while remaining faithful to Ritersie's DNA. She plans to explore other forms of jewelry and parts of the body, deepen research into materials, and pursue artistic collaborations. «I would also love to develop a niche clothing or perfume line», she adds, «these are worlds I feel deeply connected to». Ph. Ritersie
