3. Circular Open Source Fashion

Inspiration: Palestinian Thoub and Tatreez

A huge representation of history and culture can be found in the way people dress. Clothing is more than just fabric—it's a form of storytelling, a walking museum if you’re willing to pay attention. The stories, the symbols, and the experiences of entire communities can be traced through their attire, and this idea is deeply rooted in my inspiration for Circular Fashion Week.

Insert a photo In pictures: Life in Palestine from 1890 to 1937 | Middle East Eye

The Palestinian thoub is a prime example of this storytelling through fashion. Its iconic tatreez embroidery is much more than a decorative art—it’s a narrative woven into fabric. This ancient cross-stitch embroidery, which originated in Palestine over 3,000 years ago, has been passed down through generations. Each stitch holds significance, with motifs reflecting important life events, from weddings to pregnancies, and often speaking of a deep connection to the land. For rural women, embroidery wasn’t just a pastime; it was a part of their daily routine and a source of pride. Their clothing became a reflection of their identity and social status, with each village in Palestine having its own unique set of motifs. These motifs carried specific meanings and were a form of cultural expression, passed on from one generation to the next. Before the occupation, Bethlehem’s fashion scene thrived as a vibrant hub of trade and color. On Saturdays, village women dressed in richly embroidered garments would fill the streets, creating a dazzling display of traditional Palestinian attire. These women weren’t just wearing clothes—they were wearing their stories, their history, their connection to the land. Every stitch, every motif was a symbol of resilience, pride, and belonging. Today, I draw inspiration from this heritage—its colors, its patterns, and the narratives embedded in the fabric—for my work in Circular Fashion Week. I want to honor this tradition while also reimagining how we can blend cultural preservation with sustainability and forward-thinking fashion design.

Modern Take on Palestinian Motifs: The Amulets from Yafa As I delved deeper into exploring the rich heritage of Palestinian embroidery, I started experimenting with motifs and shapes, looking for a way to create a modern interpretation that still honors the tradition. One motif that truly caught my attention was the “Amulets” (الحجب) from Yafa, a design that holds cultural significance and naturally incorporates a hook element—perfect for what I had envisioned.

The Amulet Motif Palestinian embroidery is most known for its vibrant colors, especially shades of red, but I was drawn to reimagining it in black. Black has always been a favorite color of mine—though it wasn’t without some doubt along the way! When I first created the motif, I cut it out of vegan leather and added engraving to give it depth and texture. This process allowed me to modernize the traditional motif while retaining its intricate detailing.

The Kimono Concept The idea was to create a relaxed-fit kimono using this motif in a functional way. Rather than traditional stitching, I wanted the seams to be held together using hooks and eyes that are built into the motif itself. This approach not only adds flexibility in terms of fit but also highlights the motif as part of the construction.

The hook element of the motif allowed me to create a kimono that could be customized by the wearer, making the garment adaptable and unique for each individual.

Zero-Waste Approach and Mockup I crafted the kimono using a zero-waste pattern, minimizing fabric waste during the cutting process. The first mockup was entirely hand-stitched, a way for me to test the fit and explore how the motif could function structurally within the garment.

Laser Cutting for Precision After creating the initial hand-stitched mockup I did some tweaks on it, I moved on to digitize the pattern in Adobe Illustrator. Using laser cutting, I was able to achieve a cleaner and more precise edge, especially for the delicate details of the motif. I also designed eyes on the seams of the kimono so the garment could be easily assembled by threading the pieces together—no traditional stitching required!

Also I couldn’t work with an entire zero waste pattern due to the limited size of the laser cutting machine which is 100cm by 60cm so I had to cut the fabric to fit into it.