We all know that handicrafts in Saudi Arabia are an inseparable part of cultural identity. Yet today these crafts face major challenges, with the most pressing being the shortage of young labor. This shortage threatens their survival as artisans grow older.
This problem is not limited to the cultural dimension alone. Handicrafts also represent an important economic sector and serve as a source of income for many families, whether through local markets or the growing global demand for handmade products.
Globally, the handicrafts market reached 740 billion dollars in 2024 and is expected to grow to 983 billion dollars by 2030, driven by the rising demand for unique and sustainable products. Many consumers now prefer handmade pieces over mass-produced goods, and with the expansion of e-commerce, artisans have gained access to wider markets.
This growth underscores the importance of investing in handicrafts locally, not only to preserve heritage but also to seize the economic opportunities this sector provides.
That is why 2025 has been designated the Year of Handicrafts, a major initiative by the Ministry of Culture to revive this heritage not only by preserving it but also by developing it and integrating it into the market in ways that suit the present time.
In this context, the Fashion Commission launched a competition that brought together designers and traditional crafts. Over a set period, thirty designers trained to explore the crafts and draw inspiration from them in their work. The goal was not simply to showcase fashion, but to redefine these crafts in a way that appeals to contemporary taste. At the end of the training, the designers entered a competitive challenge where they presented designs inspired by handicrafts. Ultimately, five designs were selected for their ability to incorporate traditional crafts in a modern style without losing their original identity.
Documenting the Experience: How Did Mansoooj Cover the Event?
As a platform dedicated to the local fashion industry, Mansoooj was present at the event not only as an observer but as a party keen on understanding how designers managed to merge traditional crafts into contemporary fashion. How did they work with the materials? How did they preserve the spirit of the craft without reducing it to a mere decorative touch? And did the designs succeed in presenting the craft in a way that makes it a genuine part of today’s fashion?
First Place
Fashion designer Rand Al-Saif, with her design “Saudiya.”
The designer drew inspiration from five tribes of the Hejazi desert. For the skirt, she took inspiration from the Hudhali tribe, using silk fabric patterned with rose motifs and dyed with traditional indigo, reviving the ancient craft of natural dyeing.
The jacket with its detachable hood was inspired by the Jahadlah tribe, crafted from 100% natural cotton and adorned with the Kingdom’s emblem, the two crossed swords and palm tree, hand-embroidered using the sabb technique. This method employs lead beads that are melted over fire before being applied as embroidery. The hood, attached with a zipper, can be removed.
The sleeves were embroidered in the same style and embellished with two authentic Saudi coins. The handbag represented the hindool;a sling once used by mothers to carry their children, which the designer transformed into a purse made from natural sheep’s wool and 100% natural cotton. It was decorated with lead beads, with some parts naturally dyed in indigo, and further enriched with rare Saudi coins dating back to the time of King Abdulaziz, may he rest in peace.
As for the belt, it was inspired by the Rashaida and Thaqif tribes. It was crafted using traditional handwork, made of goat-leather straps, lead beads, and silk threads, and adorned with a red cotton piece embellished with Hejazi seashells known as kamkam.
The burqa was inspired by the Banu Harb tribe, made from black and white cotton fabric and hand-embroidered with lead beads, red glass beads, and coins. The design embraced the concept of sustainability through the use of eco-friendly, heritage-driven methods and materials, such as natural dyeing.
Second Place
Fashion designer Maha Al-Qahtani, with her design “Sidrat Najd.”
The designer drew her inspiration from the sidr tree, one of the most important symbols of Najd’s natural wealth. The sidr tree was combined with details from Najdi architecture as well as elements of traditional Najdi dress.
The design was executed using a variety of fabrics, including tafetta mikado, tulle, organza, and Swarovski crystals, with hand embroidery covering 18 meters of fabric. Silver zari threads were used along with 9,000 carefully placed Swarovski stones and 250 handcrafted fabric petals designed to mimic the leaves of the sidr tree. Around 158 hours of work went into the piece to ensure the finest level of detail. The colors and details were inspired by nature, particularly the gradients reflecting the green of the sidr tree set against the hues of desert sand.
In its design lines, the piece incorporated elements from the Najdi bridal gown known as thawb al-tawr, along with traditional architectural motifs such as the decorative triangles inspired by the embellishments of Najdi mud houses. These same shapes also appear in the embroidery of traditional garments from the central region.
The design also carried a sustainable dimension by using the seeds of the sidr fruit (al-‘abri), which were wrapped in silver foil, inlaid with Swarovski crystals, and transformed into buttons and complementary accessories such as necklaces and brooches.
The look further included a handbag inspired by the tarmah, an architectural feature of Najdi houses used to observe the street without being seen from outside. The bag was crafted using leftover fabric to meet sustainability requirements.
Third Place
Fashion designer Ghaida Majdali, with her design “Bride of the Arabian Peninsula.”
The story behind the design draws from the ancient love tales of Antar and Abla, Qays and Layla; famous stories rooted in the Arabian Peninsula. As for the details, the design was inspired by the heritage of the South and the motifs of Najd, Hijaz, and the Eastern Province.
The crafts used in the design:
Natural camel hair: spun and woven especially for the piece, then hand-embroidered with beads and stones.
Hand embroidery: the primary craft in the design, applied using different techniques to decorate the collar and the veil.
3D printing: used in the making of the skirt by shaping a metal base with intricate patterns, allowing the creation of unique, sculptural forms.
Metal weaving: metal was integrated with the 3D printing technique in constructing the skirt, then covered with specially woven camel hair for this design.
Luxury fabrics: the designer used mikado taffeta and tulle in crafting the garment.
Fourth Place
Fashion designer Dawlah Al-Shahri, with her design “Al-Qatatah.”
The design combined traditional Asiri dress with modern elements. The central piece was a cape (abaya) made from dark Italian taffeta fabric that conveyed a sense of strength and solidity. The fabric’s color was close to that of stone, decorated with motifs inspired by the triangular windows of Asiri houses, through which a faint light filters. Beneath the abaya were floral patterns that tied the design to nature.
The second piece was the inner dress, made from the same type of fabric but in a bold orange shade. Its purpose was to serve as a surprising element, much like the feeling one experiences when entering Asiri houses that appear calm and neutral on the outside but are filled inside with vivid details and geometric colors.
The outer design of the dress featured patterns on the sides and sleeves inspired by the traditional Asiri thawb, with an updated collar to align with contemporary styles.
In executing the design, traditional hand embroidery was used with manual threads, enhanced by the addition of Swarovski crystals as a modern element. Accessories from family heritage were also incorporated, such as a silver necklace and a woven palm-fiber basket (maktal). Both were integrated into the design to carry an old spirit within a modern form.
Before the design was executed, it was first sketched by hand and then transferred to the Clo3D program to make digital adjustments prior to sewing. The final photos of the design were taken in a style that highlights the traditional way palm-fiber pieces are worn in Asir, but styled in a modern way that aligns with the concept of the design.
Fifth Place
Fashion designer Sarah Al-Awwad, with a design inspired by the thawb al-mujannab and al-muzannad from the southern region of Saudi Arabia.
The crafts used in the design:
Biological plant-based leather: here the sustainable aspect of the design appears, as this leather was personally developed after several attempts, using palm waste as a sustainable alternative to animal leather.
Embroidery: inspired by the decorative patterns found in traditional dress, especially around the neckline and hem, but simplified. It incorporated stitches from the five regions of the Kingdom to embody the concept of “Shaml” (unity) in a single touch.
Sadu weaving: inspired by the Ministry of Culture’s crafts portfolio. A local craftswoman was commissioned to produce it, after which it was adapted for greater practicality by adding a metal clasp and durable lining to ensure its use in daily life.
