Tatreez, the traditional embroidery that houses the history of Palestine

“The trereez It is more than a simple decoration. It is a way of telling stories, preserving cultural heritage and expressing our identity». Explains me Yasmeen Mjalli founder and creative director of Nöl CollectiveRamallah -based clothing brand in the West Bank. “Every point has a meaning, each reason tells the family history, the regional identity or significant events in the life of the wearer.”

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A hand -embroidered Nöl Collective skirt with the technique of trereez. Courtesy of Yasmeen Mjalli/Nöl Collective.

A hand -embroidered Nöl Collective sweatshirt with the technique of trereez. Courtesy of Yasmeen Mjalli/Nöl Collective.

Abeer Dajanifounder of Taqa Clothing He adds: «The word trereez (تطريز) means “embellishment” in Arabic. But in addition to being a decoration, it has always been a way for Palestinian women to express their identity, experiences and regional heritage through reasons and drawings. Historically, it was a language to itself: some points and colors could tell where the woman who wore it, her civil status and even her personal history came from. “

Practiced for over 3,000 years, This form of traditional embroidery is transmitted from generation to generation, from mother to daughter, in Palestine as well as in the communities of Palestinian emigrants all over the world. Although its origin dates back to rural areas, today the tradition of sewing and wearing embroidered clothes is widespread both in villages and in cities, and the various reasons represent the different regions of historical Palestine.

The Thobetraditional Palestinian dress embroidered with pierceezin the contemporary interpretation of Taqa Clothing. Courtesy of Abeer Dajani/Taqa Clothing.

«Many traditional reasons of trereez represent Elements of the Earth – Flowers, trees, animals – Single landscape of Palestine – he explains again Mjalli by Nöl Collective – Some reasons represent specific plants such as olive branches, wild flowers or pomegranates, which have a significant cultural meaning, while others depict elements of Palestinian life related to the earth, such as Kefiah or the famous dome of the rock. These reasons are not simply beautiful, they are a form of resistancea way to keep alive the memory of a land and its biodiversity in the face of diaspora, occupation and destruction ».

Declared in 2021 by UNESCO Intangible and intellectual cultural heritage of humanityThe trereez And symbol of cultural resistance. Keeping this art alive means preserve a fundamental part of the Palestinian identity and cultureat a time when cultural roots risk being canceled. “The trereez It offers a way to archive and preserve what is about to be canceled – continues Mjalli – preserves the stories of the earth, stories that cannot be destroyed by bulldozer or borders. By weaving these reasons in our design, we are actively protecting the memory of a landscape that could soon be forgotten by the world, but who will always live in our threads».

The Thobelarge traditional dress worn by Palestinian women, is the most commonly embroidered head of clothing. But there are several designers who integrate the trereez in creations with a contemporary design, producing Clothing and accessories that can also speak to the rest of the world. This is particularly evident in the work of Yasmeen Mjalli who mixes the traditions of his homeland with a contemporary and international vision of fashion.

Born in the United States from emigrated Palestinian parents, The young designer returned to the West Bank After graduating in North Carolina and in 2017 he founded Nöl Collective to Ramallah. Mjalli integrates in his work indigenous techniques, such as tincture of the fabrics with natural dyes derived from local plants, roots and insects, the use of Traditional texture methods like the Majdalawi, and the involvement of a network of local craftsmen to embroider clothes by handcreating a unique combination of silhouette and contemporary cuts and traditional Palestinian decorations.

A taqa cloth skirt decorated with embroidery trereez. Courtesy of Abeer Dajani/Taqa Clothing.

The same does Abeer Dajani with Taqa Clothingalbeit far from his land, between Sidney, Australia, and Riyad, Saudi Arabia. After studying modeling for women’s clothing at the Burgo Fashion Institute in Amman, Jordan, with the main objective of starting a fashion line inspired by the Palestinian heritage, in 2017 Dajani founded Taqa, which she herself defines an exploration of wearable art, Pieces that tell stories, culture and identity, remaining modern and versatile.

“Fashion is a powerful representation tool. Think about the kefiahhas become a global symbol of resistance, identity and solidarity. In the same way, the trereez It is not just embroidery, it is wearable story. Each point brings with it a narrative, a connection with the past and a sense of belonging. By wearing these pieces, people connect to a story bigger than them. I see all this as part of a wider change: People are claiming indigenous arts, enhancing crafts compared to mass production and finding ways to express their identity through fashion ».

The story of these and many other designers, Weavers, Palestinian embroiderers, who make fashion a means of preservation of historyis in a global movement that is involving the world of fashion: not only the craftsmanship (and sustainability) of what we wear begins to acquire importance, but also the hands that create it have relevance, as well as the story that is it hides behind each garment and accessory. Only in this way does fashion becomes creative energy, a driving force that pushes towards the future. Despite the wars, despite everything.

“Creativity It is a form of resistance, a way of dealing and even healing – are the words of Yasmeen Mjalli – is a response to pain, A way to claim beauty and dignity in a space where they are constantly threatened. For me, being creative in this context means honoring the past and the present, but also imagining a future, a future in which the Palestinians can see the chances of a brighter and freer life. AND A mixture of broken heart and hopeand the work brings with it that emotional weight. It is a reminder that even in the darkest moments, there is still room for creation, for the expression and to claim our narrative ».