aworldofpattern

[aworldofpattern]

Chappell Roan by Tim Walker for W Magazine, 2025

W VOLUME THREE: THE POP ISSUE

Part 1 | Part 2

Styled by Genesis Webb. Editor in Chief: Sara Moonves. Set Design: Nicholas Des Jardins. Further credits.

[aworldofpattern]

Chappell Roan wearing Maison Valentino, by Tim Walker for W Magazine, 2025

Styled by Genesis Webb.

[aworldofpattern]

palestinian embroidery obi project

The collective works with Palestinian women (refugees and those living in Gaza) to create tatreez (Palestinian embroidery) for Japanese obis (wide sash/belt). They also participate in cross cultural initiatives such as embroidery workshops and exhibitions.

[aworldofpattern]

CULTURE NEVER DIES We must protect and preserve this beautiful Palestinian embroidery Palestinian thobe and Japanese kimono OBI embroidered by palestinian women 現代化で世界の手仕事が失われつつあるが、戦争による文化の破壊は絶対に許してはならない #パレスチナ刺繍 #StopGenocide

-from the twitter account of Maki Yamamoto, founder of the Palestinian Embroidery Obi Project

[aworldofpattern]

For the second year in a row, Christmas has been cancelled in the town of Bethlehem in Palestine due to the ongoing Israel/USA genocide. I made this design in solidarity with Palestinians of all religions - it's inspired by Tatreez, the story-telling art of embroidery passed down by generations of Palestinian women.

I used colored pencils to mimic cross-stitch patterns, centered around the beloved 8-pointed star sometimes called the Nijmat Beit Lahem (Star of Bethlehem), or simply Stars (Yaffa), Moons (Ramallah), or Crushed Sugar (Bethlehem). They’re bordered by red Al Jibal or The Mountains motifs from Gaza, to symbolize Palestinians' ancestral connection to their land.

Support Palestinians while they are alive! I ask everyone with money to spare to give to free kitchens in occupied Palestine as well as family survival funds. Here on tumblr @gothhabiba is organizing urgently needed funds for Samar Abu Alwan's family - donations of $75+ get a stunning custom-designed tatreez piece (V: gothhabiba P: paypal.me/Najia, C: $NajiaK, with note 🍓 or "strawberry").

Learn more: Tatreez Traditions, Tirazain Digital Archive, Tatreez Star Motifs (Palestine Studies), Tatreez and Tea, Lina's Thobe, and Palestinian Embroidery Traditional Fallahi Cross-stitch (free PDF)

[aworldofpattern]

Traditional Palestinian tatreez embroidered pillowcases (and a scarf). Picked up in beautiful Hebron in the old city.

[aworldofpattern]

Intifada Dress, from the collection of Tiraz: Widad Kawar Home for Arab Dress. 

[aworldofpattern]

A Palestinian refugee woman cross-stitching traditional Palestinian embroidery, Gaza, 1967. © UNRWA Photo Archives.

[aworldofpattern]

Not to say don't use the book because it does have valuable information but the way weir is taken as a "leading expert" in "Palestinian costume" when her writing is just so sterile and academic is one of the ways that museums and academia manufacture consent for genocide by implying that people have already been erased and long gone. No actually she is not a leading expert, Palestinian women who practice tatreez are the experts and its so weird to me that this random person is considered a LEADING expert on my culture lol.

Here's a list of books and resources from tatreez and tea if you want to learn about history of tatreez. These include Palestinian and nonPalestinian sources, though, and weir is inevitably on this list because of how valuable her book is.

Would especially recommend Wafa Ghnaim's (the owner of tatreez and tea) book because she does a great job of narrating history that we need to see more of in academia:

[aworldofpattern]

"The thobe is the bullet that will scatter into the faces of our enemies.

"Meet Samira, the Palestinians woman wielding her traditional dress as a weapon of strength and defiance." from The Tatreez Circle, 14/Apr/2024:

[aworldofpattern]

Tatreez (Arabic: تطريز) is a type of traditional Palestinian embroidery. Tatreez uses traditional cross-stitch embroidery and is practiced largely among women. The craft was originally practiced in rural areas of Palestine, but is now common across the Palestinian diaspora. Historically, each village in Palestine had their own tatreez patterns. The landscape was a major source of inspiration for the patterns and motifs, which speaks to the variation in style that was common to see among all of the different tatreez expressions that were particular to each Palestinian village.

After the violent displacement and dispossession of Palestinians in 1948, people were living together in refugee camps. The different styles of tatreez became less distinct and have continued to evolve with the diaspora. Following 1948, tatreez evolved to reflect the experiences of Palestinians. Palestinian women began to incorporate the Palestinian flag and its colors into their tatreez as a means of resistance to the occupation of Palestine. Consequently, tatreez became an expression of the identity, heritage and resistance of Palestinian women and their dedication to preserve their ancient culture.

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 | textile series

[aworldofpattern]

The Palestinian (1977)

[aworldofpattern]

Forbidden Plants Of Palestine tatreez motifs

Shereen Quttaineh: 'For countless generations, Palestinians foraged and harvested the fruits of their land, from wild plants like tumble thistle (Akkoub), medicinal thyme (Za’atar), and wild sage (Meramieh) to cultivated staples like olives, oranges, and watermelons.

Like all other facets of their lives, their autonomy over their own food is under occupation. In addition to confiscating farmlands and uprooting centuries-old fruit trees, the occupation imposes oppressive laws forbidding Palestinians from picking and growing the plants that comprise their culinary, medicinal, and cultural traditions. Despite this, Palestinians continue to find ways to resist.

Each tatreez motif documents a “Forbidden Plant of Palestine,” carrying a story of connection and resilience, offering a reminder of the enduring bond between the people and the land that nurtures them.

Palestinian women have long documented their stories and surroundings through embroidery, preserving history and identity in every stitch. Through creating my own motifs for the plants that Palestinians are restricted from accessing on their own land, I am continuing this tradition—using thread as a form of resistance. This project is my way of documenting apartheid, reclaiming narratives, and strengthening my connection to my roots and identity. Each tatreez motif is a testimony of endurance, belonging, and the fight to keep our heritage alive.

I created these motifs to be used for non-commercial purposes. The Palestinian cause is not for sale and should not be exploited for profit. If you wish to share or use these motifs, proper credit is required.

If you would like the pdf booklet for the designs dm me.'

[aworldofpattern]

Adidas Originals by Jeremy Scott JS Wings 2.0 (2011)

[aworldofpattern]

Jeremy Scott Fall 2001

[aworldofpattern]

Jeremy Scott Fall 2018 at New York Fashion Week

[aworldofpattern]

“Karl Lagerfeld: A Line Of Beauty”

Met Gala, 2023