/01
The Building of Maie Salameh
The house begins with memory: family photographs, old garments, stone courtyards, village motifs, and the belief that Palestinian dress can keep moving without losing its root.
Journal
Notes on culture, material, and image.
The Making
The building of Maie Salameh, from childhood tatreez to the final piece.
/02
Seeing Tatreez Everywhere
As a child, tatreez was not only a pattern on cloth. It appeared in celebrations, family rooms, inherited dresses, market colors, and the small details women carried with pride.
/03
Inspiration Becomes Research
Before a garment is drawn, Maie gathers references: village embroidery, museum pages, architecture, nature, old notes, symbolic color, and the emotional atmosphere of a collection.
/04
Sketch, Cloth, and Motif
Each piece moves from feeling to silhouette. Sketches, fabric swatches, embroidery placement, proportion, and movement are studied until the garment begins to speak clearly.
/05
The Making of Each Piece
The atelier is where the story becomes physical: cutting, draping, fitting, embroidery, hand-finishing, pressing, and the patient corrections that make a piece feel inevitable.
/06
From Garment to Memory
When the piece leaves the studio, it enters another life: a bride, a public stage, a photograph, a family archive, or a woman carrying heritage in her own way.
Heritage
Palestinian Embroidery as Living Memory
Tatreez is not nostalgia. It is a living visual system, holding place, family, ritual, and resistance inside thread.
Process
Behind a Collection
The first decision is rarely the silhouette. It begins with a feeling: a room, an old garment, a color remembered from childhood.
Craft
Material Studies
Fabric carries weight before it carries shape. Every textile asks for a different kind of patience.