Beyond The Red Black and Green: The Palestinian Thobe Cultural Dress

Beyond The Red Black and Green: The Palestinian Thobe 

The diversity within traditional Arab women’s attire mirrors the vastness of the Arab lands spanning two continents, Asia and Africa. However, contemporary portrayals in popular media limit non-Arabs’ exposure to just a handful of these styles much like the Arab cuisine that has been simplified to ‘shawarma’ and ‘hummus,’ overshadowing its rich variety. Today Arab dress is often narrowed down to the ‘thawb,’ also known globally as a caftan, and ‘burqa’ for women, ‘kandura,’ and ‘guthra‘ for men.  

Across the Fertile Crescent, North Africa, and the Mediterranean region, over centuries, a plethora of Arab costumes have emerged, each with its unique style serving specific purposes. These costumes have evolved over time, influenced by a variety of factors. Today, the diverse range of Arab attire differs from country to country and region to region, reflecting a culmination of collective experiences in their authentic forms. From Lebanon to the UAE, and from Sudan to Morocco, the variations in Arab costumes and their accompanying stories are both fascinating and enchanting. This paper aims to examine Arab costumes, with a specific focus on Palestine, delving into their characteristics and analysing their significance within the region. 

Thobe a Palestinian perspective 

The traditional attire worn by Palestinian women is commonly known as a “thobe,” also referred to as thawb, tobe, and various other regional dialect variations across the Arab world. This garment, characterized by its loose tunic with long sleeves, is worn by both men and women throughout the Arab world, spanning the Middle East and North Africa, and occasionally in East/West Africa and parts of Iran. Interestingly, the term “thobe” originates from the Arabic word “thawb,” meaning fabric, signifying both garment and fabric in Arabic. For consistency and regional clarity, we will use the spelling “thobe” throughout this article. 

Ideally, these garments can also be categorized into various types. While some may be referred to as “thobe,” others might be classified as “fustan,” featuring a gathered waistline. While square-shaped cloaks or shoulder mantels, fall under the category of “abaya,” the jacket style, ankle length, front open fitted costumes may be termed as “qumbaz.” 

The distinctive feature that distinguishes a Palestinian garment from other traditional attires in the Arab region is its intricate embroidery. Palestinian garments are adorned with elaborate cross-stitch embroidery, commonly known as fallahi, often executed in vibrant red silk floss thread. The key identifier of a Palestinian garment lies in the arrangement and style of its embroidered panels. 

Interesting fact: The Arabic term for cross-stitch embroidery, ‘fallahi,’ originates from the word ‘fallah,’ which means peasants or farmers, reflecting its historical association with women from rural communities. However, in modern usage, it is sometimes erroneously replaced with the term ‘ṭaṭrīz.’ The latter is actually the Arabic term for embroidery. This confusion arises because ‘ṭaṭrīz‘ is often mistakenly identified with cross-stitch or ‘fallahi’ embroidery, prevalent in Palestinian and Levantine traditions. 

The above diagram from the book Palestinian Embroidery: Traditional Fallahi cross stitch by Widad Kawar illustrates the typical placements of embroidered panels commonly found on Palestinian thobes. While each panel holds significance with its distinct name, the most crucial ones include the chest panel, known as the ‘qabbah‘ (with regional variations in spelling and pronunciation), the side panels referred to as ‘banayiq‘(also with regional variations in spelling and pronunciation), and the fall panel situated on the back of the dress, known as the ‘shinyar.’ While the ‘banayiq‘ typically maintains a consistent presence on these garments, the ‘qabbah‘ and the ‘shinyar‘ are often detachable, allowing wearers to customize their attire according to personal preferences. 

The other important identifiable symbol of a Palestinian thobe although not unique to Palestine today is the embroidered seamlines or ‘manajil.’ It is believed that the art of creating ‘manajil’ has been a tradition among women in the Middle East, particularly in the Levant region, for centuries. Interestingly, this technique is also widely practiced among Native Mexicans, who attribute its origins to their Spanish conquerors. It’s plausible that the technique was introduced to the Spanish diaspora by the Umayyad Caliphate during its conquest of Spain. While the Umayyads originated from Mecca, they fostered strong trade connections with Syria and played a prominent role in the Muslim conquest of Syria between 634-638 CE. 

Traditionally, Palestinian thobes exhibit distinctive embroidery patterns that vary from one region to another. However, before exploring these patterns, it’s essential to understand the layering structure of these garments. The initial layer consists of an undergarment, often referred to by its Turkish term ‘gömlek,’ which is typically a loose white garment featuring long winged sleeves known as ‘irdan.’ These undergarments are usually crafted from undyed cotton or linen and are minimally adorned. They serve as the base layer beneath an A-line ‘thobe,’ usually crafted from black silk and adorned with intricate embroidery. Additionally, the ensemble includes an ankle-length fitted jacket called a ‘qumbaz,’ complemented by a thick belt wrapped around the waist and a head covering known as the ‘hatta‘ or ‘futah.’ In public settings, women would frequently don a shoulder mantle known as an ‘abaya,’ which typically features embroidery along its neckline and front opening. 

Nevertheless, costumes across Palestine exhibit significant variation from one region to another, in terms of their patterns, techniques of craftsmanship, and fabric choices. By acquiring comprehensive knowledge and insight through the study of costumes from each region, one can discern their origins based on their distinctive features. 

Ramallah 

Commencing with Ramallah and its nearby areas, the thobe commonly features white fabric for summer and black for winter. With its agreeable climate and picturesque vistas from its hilltops, Ramallah, meaning “Hill of God,” embodies a sense of blessing with its olive groves, fruit orchards, and fertile lands. With a flourishing community, Ramallah’s women hold a rich legacy of creative expression. They traditionally incorporated geometric designs in their embroidery, yet with the onset of Western influences in the early twentieth century, floral motifs emerged. These patterns adorned their headscarves and the renowned white Ramallah shawl. One distinctive motif is the rows of columns with pointed tops, symbolizing the ‘nakhla‘ or palm grove, embroidered in red over a white base. 

The famous ‘nakhla’ design of Ramallah on a cap from Hebron The Zay Initiative collection. 

Lower back panel of a Ramallah dress from Palestinian Embroidery – Widad Kawar. 

Jerusalem 

The hallmark characteristic of a Jerusalem dress lies in its fabric. These dresses are unmistakably recognized by either their striped silk fabric or their intricate tiled embroidered patterns. The striped silk fabric, known as ‘çitari,’in Ottoman Turkish was particularly favoured by the residents of Jerusalem and Bethlehem. During the Ottoman era, this fabric was frequently imported from Syria, where it was locally manufactured for the Arab community. While renowned throughout Syria since Ottoman times, in Palestine, it gained popularity among the inhabitants of Jerusalem and Bethlehem, possibly due to the region’s flourishing trade and affluent population.  

Frequently, it was employed to craft ankle-length, front-open robes called ‘qumbaz,’ resembling Ottoman ‘entari‘ with minor regional adaptations, featuring passementerie or corded embroidery adorning its borders, hems, and cuffs. 

A striped silk dress from Jerusalem from The Zay Initiative collection. 

Yet another remarkably distinctive attribute of a Jerusalem dress is its prominent tiled patterns, particularly evident in the ‘qabbah.’ These patterns are intricately embroidered, often featuring floral motifs such as the Damascus rose, as well as Greco-Roman influenced designs like harps and olive wreaths. It is speculated that these specific embroidered patterns pay homage to the Roman floor tiles adorning the streets of Jerusalem city. 

A ‘qabbah’ or chest panel from a Jerusalem dress with tile patterns and Damascus rose motifs from The Zay Initiative collection. 

Bethlehem 

The distinguishing trait of a Bethlehem thobe lies in its embroidery technique. Unlike other Palestinian thobe, which typically showcase cross-stitch patterns, garments from the Bethlehem region often display couching embroidery, known as ‘taḥrīry.’ The embroidery method used in Bethlehem costumes is a simplified form of ‘taḥrīry,’ also referred to as ‘rasheq,’ which is unique to Bethlehem and its environs.  

Thobes from this region are distinguished by their curvilinear couching embroidery adorning both the chest panel and skirt, in contrast to the prevalent geometric cross-stitch patterns found on costumes across Palestine. Common patterns on a Bethlehem dress include elongated motifs resembling watches, known as the ‘saa’ in Arabic, and circular patterns possibly representing pomegranates. Among the most distinctive garments specific to Bethlehem are the ‘thobe malek’ and a short waistcoat, also known as the ‘taksiri.’ 

The ‘thobe malek,’ as its name implies, signifies the king of robes or a royal robe. It represents a long, loose tunic-style traditional garment, often adorned with winged sleeves and distinguished by intricate embroidery on luxurious, high-quality fabric. Originating from the Bethlehem region, the ‘malek’ style swiftly became an essential inclusion in every woman’s trousseau across Palestine. Typically crafted from a blend of linen and silk, the ‘malek’ dress features red and black panels, accentuated with patches of vibrant orange and green silk. The centrepiece of the ‘malek’ ensemble is the ‘qabbah,’  

renowned for its elaborate tahriry patterns—a unique Bethlehem style characterized by the intricate use of silver, gold, and silk cords intricately twisted into floral and curvilinear motifs, further enhanced by herringbone stitching. 

Interestingly, embroidered garments from the region especially Palestine, Jordan and southern Syria often reflect similar motifs with variations which is believed to have evolved from patterns that dates to pre-Judeo-Christian and Islamic society. For example, the four circles on the ‘qabbah’ of a ‘malek’ is believed to have evolved from the ancient circles motifs that represented the cycle of life – birth, growth, death and rebirth. 

Additionally, each of these circles is in the form of spiral that represents the ever-changing days, months, years and seasons. Motifs such as these could be seen scattered throughout the ancient Mediterranean and the Near Eastern settlements excavated in present day Romania, Malta, Italy, Türkiye, Egypt and Greece. 

Another such example is the ‘saa’. With a circular centre and two long ends this pattern is believed to have evolved from the Eastern Mediterranean idols symbolizing a human body. Such figurines from the Anatolian region of present-day Türkiye dates to at least between the late Achaemenid – c. 550-330 BCE – and the Western Roman period – c. 215 BCE-476 CE.  

It is also interesting to note that while in its usual size and dimension the pattern is termed as ‘saa’, but when the pattern appears in smaller dimension on the side panels of the skirt of a ‘thobe’, it is termed as children ‘aulad’. 

Furthermore, the symbolism of pomegranate too is an interesting aspect. The cultural significance of the fruit around the world is undeniable. However, in the Middle, Near East and the Mediterranean the significance of the pomegranate is steeped in tradition and faith and have both positive and negative connotations.   

According to some scholars of the Abrahamic faith the expulsion of Adam and Eve may have been because of a pomegranate and not an apple just like the fall of Persephone that led her to Hades in Greek and Roman myths. Having said that, the pomegranate is also the promised fruit of Paradise both in Christianity and Islam, thus becoming both the promised as well as the forbidden fruit.   

The red arils of the pomegranate have been used as a symbol to represent blood over centuries in many cultures, which led the ancient Persians to use it on their shields as signs for protection and later came to symbolise the blood of Christ and his suffering – Passion of Christ – by the Christians. A fairly drought resistant in nature, this fruit bearing plant can also be categorized as the Biblical ‘Tree of Life’.  

However, its symbolic significance in the Near and the Middle East stretches far beyond the advent of monotheism. Just like in the Greek and Roman myths, the pomegranate has played an important role in the myths and legends of the pre monotheistic faiths in the region, the significance of which has been later adopted by the Judeo-Christian and Islamic faiths and beliefs. Even today it is a common symbol of fertility during wedding rituals amongst many cultures across the world especially in the Middle and Near East.   

A Bethlehem ‘thobe’ from The Zay Initiative collection. 

A Bethlehem dresses are traditionally paired with a ‘taksiri’ waistcioat, and the distinctive item holds a special place in Bethlehem’s fashion. A typical Bethlehem’ taksiri’ is a reminiscent of Ottoman ‘çepken’. Often made of velvet it features short half sleeves and a waist-length cut, and heavy couching embellishment.  

Gallilee 

The typical attire of women from northern Palestine, especially from the Galilee regions, is distinguished by embroidered patterns adorning every piece of clothing, including trousers, jackets, and coats. Costumes from this area are notable for their utilization of various stitching techniques, influenced by the proximity to Syria and Turkey. A diverse array of embroidery methods, ranging from cross-stitch to satin stitch, are employed in equal measure. Unlike the more intricate patterns found in central or southern Palestine, the designs in Galilee tend to be simpler. A recurring geometric motif prevalent in Galilee attire is the rhomboidal shape, symbolizing an amulet or ‘hujub.’ Interestingly, this same shape is also common in the costumes of the Jaffa region, located further south. 

Hebron or Al Kahlil 

The most identifiable characteristics of a Hebron ‘thobe’ is its neckline and zigzag patterns on its chest panel. The patterns resembling a flight of stairs ‘daraj’ is although not unique to Hebron, however, their appearance in dresses from Hebron is far more frequent compared to other places. The ‘daraj’ is believed to be a derivative or interpretation of the crescent shape that is steeped in ancient Mesopotamian symbolism. It is believed that the crescent shape often associated with the moon is considered sacred because of the old Mesopotamian myth of Anat the moon goddess. Although with the passage of time changes in the cultural fabric of the region was noticed through the gradual decline of the ancient beliefs and the rise of monotheistic religions, however, the symbolism of the crescent shape remained with humanity.  

The zigzag pattern is often considered an imagery of water and waves. In fact, the three point geometric shape also symbolises the rhythm of nature – birth, death, rebirth; morning, day and night; spring, autumn and winter.  

However, the frequent appearance of these two patterns in costumes hailing from the Hebron area is also perhaps because of Hebron’s geography. Located in south of Jerusalem, the region features a hilly landscape with vineyards. It has been known for its rich and unique craftsmanship from glass and ceramics to leather and fabrics. Perhaps these design elements are reflections of the landscape that these highly skilled craftsmen community created centuries ago.  

Opulently decorated dresses from Hebron were not only beautiful objects to wear on the day of the wedding, but also a way to demonstrate one’s skill and mastery of traditional techniques. Mastery of a discipline was paramount to proving one’s suitability as a bride. In the past, mothers looking for suitable brides for their sons would try to find the girl most skilled in embroidery. Their assumption was, if her embroidery was impeccable, she would make a perfect housekeeper and wife as well. It’s worth noting that the women residing in the city of Hebron did not typically wear the embroidered dress; rather, it was predominantly worn by those from the surrounding villages. 

A Hebron ‘thobe’ and the closeup of its ‘qabbah’ from The Zay Initiative collection. 

The Thobe Mekhmal 

The ‘thobe mekhmal’ is possibly the most prominent Ottoman influenced dress found in the Arab world. As the name suggests it is a ‘thobe’ made of velvet or ‘mekhmal’. The most opulently decorated ceremonial costume the ‘thobe mekhmal’ is a dress styled after the Ottoman ‘bindali entari.’ It is an ankle-length ceremonial overgarment characterised by a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet unique for its raised embroidered patterns depicting foliage and branches inspired by European Rococo art. During the last phase of the Ottoman Empire, the Ottoman society was gradually adopting such European inspired patterns which became popular across the Empire including the Levant. 

Also known as ‘bilsarma’ these dresses featured Turkish dival embroidery in metal threads known as ‘sirma’ in Ottoman Turkish. It comprised of satin stitch embroidery with metal threads often gold or silver that were passed over a leather or cardboard base to give it a relief or three-dimensional effect.  

It is interesting to note how in the Arab world this technique of embroidery is often referred to as ‘sarma’ which is a derivative of the Turkish term for the material – metal threads or ‘sirma’, while the Turkish term for the same technique ‘dival’ is thought to have originated from the Persian word for throne or council chamber – ‘divan’ – which was synonymously used for the lushly embroidered fabric used for its upholstery.  

A ‘thobe mekhmal’ from The Zay Initiative collection. 

In addition to the previously mentioned dresses and their distinctive techniques and patterns, which have evolved since ancient times, the recent history of traditional embroidery of the region is equally breath taking. During the 19th century, Christian missionaries from Europe and North America to the region opened schools for instructing and promoting the western form of Christianity that was deeply rooted in Roman Catholicism, post Reformation Protestantism, Anglican, Methodist and several other denominations. Embroidery and lacemaking were an integral part of this kind of education.

The textile skills learned and developed at these schools blended traditional Palestinian forms of embroidery with European techniques thus giving rise to a fabric that featured cross stitch and couching in the same landscape. This also saw the blend and development of traditional Levant Arabic imageries – with regional variations – with western Christian ones. In fact, Bethlehem became famous for specializing in such unique combination of curvilinear and floral designs during the first half of the 20th century.   

However, the dress and embroidery traditions of the early 20th century saw a radical decline after the late 1940s. The creation of the State of Israel and war in the 1960s contributed to the disuse of hand embroidered textiles with very few women having the time or money to continue supporting and contributing to the embroidery industry.  

Indeed, the pace of decline and loss of knowledge concerning the craft, as well as the traditional styles and designs, is accelerating due to the ongoing conflict. As a result, it is increasingly challenging to document and preserve this heritage for the benefit of future generations.  

In conclusion, although various non-profit organizations are striving to conserve Palestinian heritage, the endeavour to do so uniformly across all aspects of cultural heritage demands substantial efforts.