[Note: the author can bring a portable projector, if MESA can schedule the paper in a room with a 5' X 5' white wall or a screen.] On December 5, 2011, pop star Jennifer Lopez opened the Morocco Mall in Casablanca, a large-scale, multi-use luxury retail center in the seaside industrial and economic heart of the country. The location in Casablanca and association with an American icon with international appeal after a Moroccan princess ceremonially cut the ribbon are fitting for more than economic and publicity reasons. Situated on the corniche and close to the 1989-completed Hassan II Mosque, which has the tallest minaret in the world, among other Guinness record-type boasts, the Morocco Mall offers its visitors a similarly dazzling array of amenities, including an aquarium with sharks; the third largest musical fountain in the world; a free-standing IMAX cinema; and high-end, European stores not previously on the African continent. Morocco Mall is the result of collaboration between several trans-national design firms; a United Kingdom based Italian born and United States educated designer, Davide Padoa; and Moroccan financiers with government connections. Though perhaps the first of its kind in North Africa, the Morocco Mall is the latest in a long line of similar complexes in the Arab world, specifically Saudi Arabia and the United Arab Emirates. However, even less than many of its sister structures and certainly dissimilar to its neighboring mosque, the Morocco Mall exhibits few conscious references to its national and cultural locale referenced in its name. Publicity materials stress the influence of the natural environment and sea, in general, and, in one interview, Padoa proudly compared his creation to the “original Galeries [sic] Lafayette store on Boulevard Haussmann in Paris” while opining he had helped bring “France back to Morocco,” a surprising assertion given France colonized Morocco less than a century ago. The following paper analyzes the plan, decor, contents, and materials of the Morocco Mall, in addition to official press releases, to answer the question of what such a complex is meant to convey about the Moroccan identity today and to which audiences. An ending statement will explore criticisms of the Moroccan mall, and how the complex has been used during its first year of creation, and, thus, how it has acquired additional and, perhaps, unintentional meanings.