Stitch in time: Saudi fashion dresses for the future

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The Saudi Cup showcased traditional outfits, with the Ministry of Culture’s fashion commission encouraging a dress code that required racegoers to highlight their heritage. (Supplied)
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Designers showcased their exclusive works, mixing the contemporary with the old. (Supplied)
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Designers showcased their exclusive works, mixing the contemporary with the old. (Supplied)
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Designers showcased their exclusive works, mixing the contemporary with the old. (Supplied)
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Designers showcased their exclusive works, mixing the contemporary with the old. (Supplied)
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Designers showcased their exclusive works, mixing the contemporary with the old. (Supplied)
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Updated 06 March 2021
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Stitch in time: Saudi fashion dresses for the future

  • Traditional wear gets a modern makeover as designers keep the past alive

JEDDAH: As Saudi Arabia sets out to introduce its culture, history and social life to a global audience, fashion is finding it has a key role to play in the Kingdom’s “brand strategy.”

Traditional wear proudly worn by both Saudis and expats at the recent Saudi Cup showed how age-old cultural styles could find new life in a contemporary setting.
While fashions can reflect a specific era, they also can act as a transition to the future, with fabrics, cuts, motifs and embroidery designs, and even colors and layers, keeping the story alive.
The Saudi Cup showcased traditional outfits, with the Ministry of Culture’s fashion commission encouraging a dress code that required racegoers to highlight their heritage, and designers to showcase their exclusive works, mixing the contemporary with the old.
Although Western outfits dominate the world fashion market, Saudi Arabia is choosing to stay connected with its traditional dress.
Saudi designers are constantly introducing new trends in the way outfits are made or worn, finding inspiration in age-old styles or seeking to bring the traditional clothing of a region into the present.

HIGHLIGHTS

• Although Western outfits dominate the world fashion market, Saudi Arabia is choosing to stay connected with its traditional dress.

• Saudi designers are constantly introducing new trends in the way outfits are made or worn, finding inspiration in age-old styles or seeking to bring the traditional clothing of a region into the present.

• Mohammed Khoja, a fashion designer who uses traditional approaches in his contemporary work, believes that his collections help shed light on cultural elements that appeal to both local and international audiences. 

• International events, from Eid celebrations at Saudi missions across the globe to overseas university students celebrating an occasion, allow Saudis to don traditional clothing to represent their homeland.

• Omaima Kindassa, a Saudi designer and owner of a contemporary heritage boutique, said that events such as the Saudi Cup allowed Saudis to represent their own region and culture, as well as show the Kingdom’s rich heritage and diverse culture to the world.

• Princess Nourah Al-Faisal, the designer behind Nuun Jewels, hoped to represent the historical beauty and color of traditional Saudi clothing in a way that encouraged people to embrace and celebrate their culture.

Mohammed Khoja, a fashion designer who uses traditional approaches in his contemporary work, said: “Since the beginning of my fashion design career, cultural elements have appealed to me. I am particularly driven by being able to contribute in documenting and potentially giving cultural elements more importance.”
Khoja believes that his collections help shed light on cultural elements that appeal to both local and international audiences.




Traditional wear proudly worn by both Saudis and expats showed how age-old cultural styles could find new life in a contemporary setting.

The same elements have also helped him identify with his own contemporary identity, he said.
Omaima Kindassa, a Saudi designer and owner of a contemporary heritage boutique, said that events such as the Saudi Cup allowed Saudis to represent their own region and culture, as well as show the Kingdom’s rich heritage and diverse culture to the world.
“I’ve been designing and modernizing traditional Saudi wear for 10 years,” Kindassa told Arab News. “Now many younger designers are pursuing that as well because they have fallen in love with our heritage.”
She added: “If the current generation were to wear traditional clothes, they would find them overbearing and heavy, especially accessory-embellished designs and those adorned by stones. Modernizing these outfits makes them relevant to today’s generation and ensures our tradition keeps pace with fashion.”




The Saudi Cup showcased traditional outfits, with the Ministry of Culture’s fashion commission encouraging a dress code that required racegoers to highlight their heritage, and designers to showcase their exclusive works, mixing the contemporary with the old. (Supplied)

Kindassa specializes in traditional wear from the Kingdom’s regions but also modern clothing “that tell tales of the long past.”
“Each region offers its own rich heritage through its designs, from the geometric elegant shapes, the vibrant colors, the embroidery — it looks like a painting to admire,” she said.
International events, from Eid celebrations at Saudi missions across the globe to overseas university students celebrating an occasion, allow Saudis to don traditional clothing to represent their homeland.
Princess Nourah Al-Faisal, the designer behind Nuun Jewels, told Arab News that the Saudi Cup was a “great opportunity to present the variety, regionality and beauty that is Saudi culture.”


She was brought in as a consultant for the project, a link between the Saudi Cup and the Ministry of Culture, “to curate the event in terms of looks and feel.”
Princess Nourah said the idea to promote traditional Saudi fashion was not hers, but came from Crown Prince Mohammed bin Salman.
The princess hoped to represent the historical beauty and color of traditional Saudi clothing in a way that encouraged people to embrace and celebrate their culture. She also wanted people to take ownership of their heritage, and see designers and communities using it as inspiration for future designs.
“So not just reproducing traditional cultural dress, but also taking it as a point of reference and moving forward into the future, recreating it, developing it and having fun with it by creating something completely new,” she said.
Impressed with the outcome, she hopes to build on this momentum where people celebrate culture every day.
“There are a number of entities within Saudi Arabia, organizations that are all about preserving our heritage; things like regional embroidery, jewelry, costumes, and really making sure that they’re archiving it, whether through photographs or through the actual pieces. I think that is something that we have been working on as a nation either in the private sector or the public sector for a while,” she said.

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Israa Allaf on her Saudi fashion brand The Untitled Project 

Updated 05 March 2026
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Israa Allaf on her Saudi fashion brand The Untitled Project 

  • ‘It’s a fusion culture that really represents Saudi,’ creative director and founder tells Arab News 

DUBAI: In 2018, when Israa Allaf launched her Saudi fashion brand The Untitled Project, “it was really hard to find something that really represented individuality,” she tells Arab News. “I really wanted to create something unique — something that felt Westernized yet at the same time felt Arab, and that you could wear as a cover-up.” 

At the time, modest fashion often left little room for self-expression. “The abaya, for example, was always worn closed, and we wanted to showcase how you can incorporate it and style it within your own clothing and have something that’s really unique to you, that you really won't find anywhere else,” Allaf says. 

In a Saudi fashion scene that has become increasingly polished and trend-driven, The Untitled Project stands out for its flowing cover-ups, richly layered prints and experimental silhouettes.  

Allaf, who studied marketing, began by designing the pieces herself before stepping into the role of creative director and building a team around her.  

“That’s why you can also see with the designs that we have many different themes. We have different artists from all around the world creating something — it’s a bit more of a fusion culture that really represents Saudi, but shows a different type of craft,” she explains. 

That idea of fluidity is also built into the brand’s name. “I actually came up with the name before even (thinking about starting the company),” Allaf says, adding that she wanted to avoid the rigid associations that come with most labels. “Brand names really put you in a box… and we didn’t want that. A woman has layers. She’s not one thing.”  

That philosophy shapes who she designs for: two main types of women. One who leans into statement pieces, another who dresses according to the occasion. 

Though Allaf is now based in Riyadh, her company’s soul remains deeply tied to Jeddah, especially the city’s beach culture and relaxed aesthetic.

  

“In Riyadh, they like to wear their abayas long. In Jeddah, they like to wear them short. They like their slippers. They like their ankle-length pieces, or even shorter pieces, and we really embody the Jeddah girl brand,” Allaf says. “We’d say we’re more colorful — having, like, seven-plus colors in one piece and making it still look beautiful on a woman.”  

Behind every item of The Untitled Project’s clothing — all of which are produced in Saudi Arabia — is a meticulous process that can stretch over months, sometimes focusing on just a single print or a single abaya, Allaf says. Her goal is always to ensure each design reaches its strongest possible version before it is ever released. 

The clothes are created using only silk, linen and cotton, chosen for their natural feel and their ability to showcase the brand’s intricate prints. 

Sustainability is also central to the brand’s identity, with organic materials and a strong focus on reusing fabric. Leftover textiles, embroidery and archived materials from previous collections are redesigned and reworked into new garments, allowing older pieces to take on a new life instead of being discarded. 

Small-batch production supports that approach. “Why make hundreds of a piece when we don’t know the demand? We’ll create a smaller batch and test it out on the market,” says Allaf, adding that doing so leaves “room for experimentation.”  

Even the brand’s packaging is designed with reuse in mind. After customers began repurposing the original boxes — often as makeshift homes for their cats — the brand leaned into the idea, redesigning the packaging to encourage customers to reuse it for storage and everyday needs rather than throwing it away. 

“We intentionally wrote on the backs that they can be cat-house boxes. We wanted the customers to also reuse,” Allaf says.  

One of The Untitled Project’s most meaningful designs is “Scene Leaving the Corniche.”  

“I love it so much. It just looks great on all skin tones. It has symmetry and it has asymmetry as well,” says Allaf. With butterflies, flowers and palm motifs, it captures the brand’s identity.  

“That is going to be the new brand staple print,” she says. “It represents the brand’s personality the best.” 

Through fabric, form and community projects, Allaf continues to push the idea that fashion can be thoughtful, expressive and adaptable — just like the women she designs for.