Omar Joseph Nasser-Khoury is an ‘anti-fashion’ designer from Palestine whose inspiration to study fashion was an embroidered Najaf shawl in 2005.
He says, “I was both moved and stunned by the skill, beauty and innovation of the work. At that moment I seriously, and rather foolishly, began to consider a future in fashion design and textiles.” Omar has worked with Inaash on three occasions.
His Bolero jacket embroidered for Inaash by Nazmieh Salem from Mar Elias Refugee Camp, is one of several of his works to have been acquired by the British Museum. Omar’s Magick Forest Collection for Cushionania elaborates on the different ‘Saru’ (cypress tree) motifs embroidered on traditional rural dresses throughout Palestine.
Omar says that despite the deep-seated misconception that embroidery motifs are inspired by the nature and surroundings of Palestine, the motifs are more often like magic symbols with descriptive or allegorical names bearing no likeness to the living creatures or the dead objects they are purported to resemble.
His ‘forest’ arrangement of magical motifs is a visual study of the metaphysical and talismanic aspect of embroidery and nature from Palestine.
He says, “I was both moved and stunned by the skill, beauty and innovation of the work. At that moment I seriously, and rather foolishly, began to consider a future in fashion design and textiles.” Omar has worked with Inaash on three occasions.
His Bolero jacket embroidered for Inaash by Nazmieh Salem from Mar Elias Refugee Camp, is one of several of his works to have been acquired by the British Museum. Omar’s Magick Forest Collection for Cushionania elaborates on the different ‘Saru’ (cypress tree) motifs embroidered on traditional rural dresses throughout Palestine.
Omar says that despite the deep-seated misconception that embroidery motifs are inspired by the nature and surroundings of Palestine, the motifs are more often like magic symbols with descriptive or allegorical names bearing no likeness to the living creatures or the dead objects they are purported to resemble.
His ‘forest’ arrangement of magical motifs is a visual study of the metaphysical and talismanic aspect of embroidery and nature from Palestine.