The majority of the women already know how to embroider when they join Inaash, often having learned from female family members. “We are taught about the historical importance of tatreez at school,” Samar notes, explaining that the embroidery style dates back over 3,000 years and each village in Palestine has its own distinct tatreez pattern. “The designs tell stories about our local culture—the people, animals, plants, and beliefs in the area.”
What begins as a domestic craft becomes a vocation through Inaash; once hired, the women are given formal training and opportunities for career development. “We start them on basic patterns, then routinely assess their ability to progress,” Ali Jaafar, the general manager, explains. “Samar joined us over 20 years ago at an entry-level position. Today she leads the 400 embroiderers we employ.”
One of the projects the team recently worked on was for an exhibition at the Islamic Arts Museum of Malaysia. Their brief was to recreate 70 historical Palestinian dresses, each representing the traditional designs from various cities and towns. “We had to undertake a meticulous research process to find all the details we needed,” Samar says. “It took over three years to complete.”
Projects such as these carry significant emotional weight for the embroiderers. “The motifs from my father’s region, Safed, touched me deeply,” Samar reveals. Due to Israel’s continued refusal to grant Palestinian refugees the right to return, Samar has never been able to visit Safed. “Through tatreez, I was able to learn more about the plants, animals, and traditions of the area. I could picture it in my mind.”
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