5 Stitches of Palestine

The Fallahi stitch, also known as Qutbeh Fallahieh, is the traditional cross-stitch used in Palestinian tatreez. It is arguably the most recognizable and widely used stitch in Palestinian embroidery, appearing on dresses from numerous regions across Palestine.

On traditional dresses, this stitch served as the primary structural unit for both simple and highly complex embroidered patterns, known as uruq al-tatreez (عرق التطريز).

The Fallahi stitch is the foundation of many embroiderers' learning journeys. If you're new to tatreez, we have a free beginner's course that walks you through the basics of this stitch and helps you get started with your own embroidery.

Tahrireh, also known as Qasab, is a form of couching and one of the most prominent decorative techniques found in Palestinian embroidery. It was particularly associated with regions such as Bethlehem and Jaffa, where entire dresses were sometimes embroidered using couching alone.

Unlike cross-stitch, which builds a design through individual stitches worked into the fabric, couching uses two threads. A decorative thread is laid along the surface of the fabric, following the outline of the design, while a second working thread secures it in place with small, evenly spaced stitches.

This technique allows for beautiful raised lines and flowing decorative patterns. It was often used to create elaborate details that contrast with the geometric cross-stitch embroidery surrounding them.

On this Ramallah thobe, couching can be found along the side panels, chest panel and back panel.

Sbeleh (سبيلة) is a type of fabric-joining stitch, also referred to as Manajel (مناجل). It was traditionally used to connect separate fabric panels when constructing Palestinian dresses and was considered one of the more prestigious joining techniques.

Unlike decorative embroidery, Sbeleh serves a functional purpose while also adding a beautiful detail to the garment. The stitch connects two pieces of fabric with a series of carefully aligned satin stitches, creating a continuous band along the seam.

Mastering this technique required considerable skill. The stitches had to remain aligned both horizontally and vertically to produce an even, consistent finish. It could be worked in a single colour or with alternating colours, sometimes extending along the length of the dress.

On this thobe, the joining stitch is created using many different colors creating a striking contrast against the black fabric.

Habkeh (حبكة) is a traditional edge-binding stitch found on nearly every traditional Palestinian dress. It was commonly used around the neckline, chest panel openings, and sleeves to finish and reinforce the raw edges of the fabric.

The technique involves working back and forth over the edge of the fabric, creating a series of closely stacked stitches that form a braided appearance. It can be worked in a single colour or in two colours to create a striped effect.

Although it serves a practical purpose by securing and protecting the fabric edges, Habkeh also adds a decorative finish to the garment. The neckline is a particularly important area where this technique can be seen, framing the embroidered chest panels and completing the overall look of the dress.

Habkeh Laff is another neckline finishing technique found on traditional Palestinian dresses. Like Habkeh, it is used to bind and finish the raw edges of the fabric, but the resulting appearance is quite different.

Rather than the braided, stacked appearance of the traditional Habkeh, Habkeh Laff creates a smoother, satin-like finish along the edge. The stitches wrap around the fabric, producing a neat and continuous band of colour.

On this Ramallah thobe, the technique is particularly noticeable around the neckline, where the colourful satin-like edging follows the curved opening of the dress. It is a beautiful example of how even the finishing techniques of a garment could incorporate colour and decorative detail.