GASAH STUDIO X THE ZAY
This collaboration between Gasah Studio and The Zay Initiative aims to celebrate the beauty and timelessness of traditional Emirati garments. The handcrafted collection explores the history, culture, and decorative beauty of two museum pieces from The Zay Initiative Collection that have been passed down from generation to generation. The collection can be viewed on HOME - The Zay Initiative as part of the first digital archive of Arab Dress in the region.
ABOUT THE ZAY
The Zay Initiative, founded by Dr. Reem Tariq El Mutwalli, is a non-profit, UK registered initiative advancing the preservation of cultural heritage through the collection, documentation, and digital archiving of Arab historical attire and their stories. Empowering and sustaining global cross-cultural dialogue to inspire creative minds.
ABOUT THE COLLECTION
Gasah Studio has intricately digitized motifs from these delicate artefacts, printed them on light stretch tulle, and paired them in a contemporary tailored finish. This collaboration aims to create room for exploration, reinterpretation, and cultural dialogue.
ABOUT THE PIECE
Kandūrah_’arabīyah Mzarāī Manarāsī Khwār Zarī
The Original Article: The owner of this tunic dress (Kandurah) was the late ‘Inayah bint Salih al Muhairi, the wife of the late Al Said Abdullah al Hashmi, the director of private affairs for the founding father of the UAE, Sheikh Zayed bin Sultan al Nahyan.
The Kandurah was made for her by a renowned tailor called Khalifah at the time, one of the first tailors to open in Dubai.
‘Inayah’s was known for reciting poetry but was also skilled in (Talli) and (Badlah) making.
Article: ZI2018.500220 UAE
Growing up in the 1950s she became part of the entourage of the family of Sheikh Shakhbut bin Sultan al Nahyan’s daughter, Shaikhah Mozah.
She then became a close confidant and part of the entourage of Shaikhah Fatimah bint Mubarak, wife of the founding father of the UAE, Sheikh Zayed bin Sultan al Nahyan.
On ‘Inayah’s death in 2013, the Kandurah was inherited by her niece and daughter-in-law, the Emirati poet Fatimah al Hashmi. She donated the garment to the Zay Collection in memory of ‘Inayah.
Fatimah attained a high school degree. She became wife to her maternal cousin, and mother to a son and daughter. She was one of the UAE female poets of the eighties, who began publishing her poems and literary writings under various pseudonyms, such as Abu Dhabi Nights, Um Khaled Nights, Wanat Alam or Layali. However, in her most recent four publications in 2019 and 2020, she opted to use her full name.
The Style: This type of ankle-length, long-sleeved tunic dress (Kandurah_arabiyah), is particular to the UAE.
It sports a vertical slit (Shaj) located on the left side of the neckline (Halj) that extends down the chest. Its origins are believed to lie in the Punjabi Kurta.
In this example, the neckline (Halj) and sleeve cuffs (Hyul) are both machine embroidered (Khwar_Zari) in repetitive floral motifs of green, red and royal blue silk thread (Brisam), on a dense metallic gold background (Zari).
The neckline and sleeves are fastened using metal snap-press studs (Siq_w_biq). At the time it was made, these metal studs were seen as a sign of modernity, trendiness, and social stature. On other similar garments, cotton thread buttons (’igam) were used. While in later examples, transparent plastic ones became the norm.
The Fabric Pattern: Cut from silver and gold repetitive palm-size leaf motifs brocaded (Mzarai) on a royal purple Indian silk, locally known as (Manarasi).
It represents a fine example of the use of silk brocades imported from Banaris, India, widely popular in the UAE, for both tunics (Kanadir) and undergarments (Sarawil).
The Embellishment: An exceptional example of pure silver and gold-plated embroidery (Khwar_Tulah). Focused along the neckline (Halj) and sleeve cuffs (Hyul), in simple naïve floral motifs outlined in red silk thread (Brisam) and leaf forms outlined in green silk thread (Brisam).
The outline of the square-shaped area surrounding the neckline, where the floral designs are embedded, is then highlighted with a saw-tooth motif (Bruj) line that also wraps around the side slit (Shaj).
Cotton thread buttons (igam) were used to fasten the neck slit (Shaj) and sleeve cuffs (Hyul). Though all the eye loops (Ghiram) that held them are still intact, the original thread buttons (igam) have long gone.
ABOUT THE PIECE
Embellished tunic dress with metallic straw, Kandūrah_’arabīyah, Tallī_Fātlah
The Original Article: The two items were designed to be worn together as an overgarment and tunic dress (Thawb_wa_kandūrah) and were gifted to the Zay Collection by Sheikha Moza bint Mubarak Al Nahyan, sister of Sheikh Nahyan bin Mubarak Al Nahyan and the wife of Sheikh Khalifa bin Hamdan bin Mohammed Al Nahyan. Sheikha Moza holds a Ph.D. in Islamic studies and is a childhood friend of Dr. Reem Tariq El Mutwalli.
Article: ZI1997.500656a UAE
The Style: This tunic Kandurah is known as (Kandurah_arabiyah) and is specific to the UAE, though its origin is believed to emanate from the Punjabi Kurta.
Its defining feature is the vertical slit (Shaj) on the left side of the neckline (Halj) that extends down the chest. It functioned as a means to enlarge the fitted neckline opening (Halj) and allow the head to pass through. In more recent versions the Shaj has lost this function and become purely decorative.
We can accurately date this garment to the 1990s because of the presence yet restrained nature of the side slit (Shaj) design. Where it seems to only open halfway along the outline. It is still functional but leans towards the decorative.
After the millennium, wider necklines rendered the Shaj obsolete becoming purely decorative detected only through embroidery renderings.
The Fabric Pattern: Made from plain Satin silk fabric it is attached to the matching printed Thawb by means of two large safety pins on each side of the shoulder line.
Before the 1980s, it was common to employ contrasting colours and techniques within the components of the traditional dress. Women used to wear a Thawb that contrasted with the Kandurah underneath, in later styles the two garments would often match, as in these examples.
The Embellishment: The adornment on the neckline Shaj and sleeve cuffs (Hyul) are decorated with the same type of mono-coloured (Talli_Fatlah) found on the matching Thawb. The neckline on both garments features an almost identical design, embellished with seven consecutive lines of Talli_Fatlah that surround the opening on the front and stop at the top of the shoulder line.
This is followed by a chain of semi-circular scalloped shapes of the same type of Talli. The outer shape of the Bidhah is delineated in a square form created by a double line of Talli_Fatlah followed by one continuous line of Talli in a looped form.
The side slit Shaj continues a short distance below the neckline Halj and is created by six lines of Talli featuring looped decorative eyelets.
In this example, the slit is closed with metal snaps (Siq_w_biq). At the time when this Kandurah_arabiyah was sewn, this was a symbol of modernity and social status compared to older versions, in which ball buttons made of cotton thread (’Igmah) and thread loops (Ghiram) were used.