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Ayham Hassan has recently been featured in Vogue, I-D and Dazed as an up and coming fashion designer, after debuting his graduate collection in London. His work is now on display in the museum, as part of Thread Memory: Embroidery from Palestine. We caught up with Ayham to hear more about his design practice and the impact he's making through his powerful work.

Q. Tell us about yourself

I'm a Palestinian fashion design student based in London and Ramallah. My work is deeply rooted in my personal experiences growing up in the West Bank and is approached through a critical and analytical lens.

I am dedicated to challenging and reshaping my reality through the expressive medium of fashion, drawing inspiration from the social customs and evolving culture in my city, focusing on exploring the rich craftsmanship in Palestine, with a particular emphasis on tailoring, textiles, and draping.

I actively collaborate with local artisans to incorporate their traditional techniques and expertise into my design and production process. By doing so, I aim to contribute to the preservation of Palestinian crafts and enhance the overall production cycle in my country, ensuring that these invaluable skills and traditions do not disappear especially in the fast-evolving world we live in.

Q. We'd love to hear more about your design practice. Can you tell us more?

My design process is actively evolving. Experimenting and exploring different cultures and societies is always an exciting adventure in my journey. Being an international student has exposed me to so many new opportunities for inspiration, driven by being innovative with the resources I have around me. I aim to make a statement in my work and to inspire others by deconstructing my stories, its influences and the healing potential it has.

The unique aesthetic of my work is deeply influenced by the environment in which I was raised, characterised by a raw, primal, visceral and earthy quality. This aesthetic reflects the challenges I faced growing up under Israeli military occupation.

To me, fashion is not simply a form of self-expression; it is a means of protection, at times from societal pressures, and always from the harsh realities of military occupation.

I firmly believe in the transformative power of design as a force for positive change and progress. Through my work, I seek to disrupt the fabric of constructed life in my community, prompting individuals to confront the pressing issues within Arab and Palestinian societies. By building upon traditional techniques and infusing them with innovative and sustainable production methods, I am committed to elevating design and industrial independence in Palestine and the Levant area. I also aspire to integrate the often-overlooked Palestinian identity into the global fashion industry.

Q. Can you tell us more about your graduate collection?

My graduate collection, titled IM-MORTAL MAGENTA: the colour that doesn't exist, boldly tackles two critical challenges: cultural sustainability and preservation, alongside environmental sustainability.

For this collection, I have relied on the historic textile and dress traditions from Gaza for grounding, direction and inspiration. I have incorporated print, hand and machine embroidery, leather work, laser engraving and cutting, and knit to realize this collection. My collection is about Palestine; a response to the genocide in Gaza.

"إنها ليست ثوبًا أخلعه اليوم، بل جلدًا أمزقه بيديّ. ولا هي فكرة أتركها ورائي، بل قلبًا حلو بالجوع والعطش."
"It is not a garment I cast off this day, but a skin that I tear with my own hands. Nor is it a thought I leave behind me, but a heart made sweet with hunger and thirst." - Khalil Gibran, The Prophet (1923)
My work is deeply inspired by the colour magenta which has cultural roots in the city of Majdal in Gaza, where the weaving comes from. The last family practicing these traditional crafts faced severe intimidation from Israeli forces, with some members displaced in Egypt. Through the use of symbolic colour and powerful motifs, I document and celebrate the uniqueness of this heritage in every look of my graduate collection.

I have developed a collection that powerfully showcases my conceptual process for each look, utilising primarily deadstock materials and end-of-stock leather skins. My selection features a range of soft silk chiffon, woven silks and vibrant shades of magenta. I have incorporated silk organza, rubber bands, faux leather cords, and knitted wool from Palestine. Additionally, my materials feature tulles, paper silks, metal embellishments, pleated paper, and hand-stitched woven cotton from Palestine, all of which contribute to a distinctive and impactful aesthetic.

"It unapologetically addresses the devastating effects of genocide and war on the survival of a vibrant culture."

I take a firm stance on environmental sustainability in the construction of my pieces. I have developed innovative zero-waste cutting techniques for each look. My project has garnered sponsorship from Last Yarn Fabrics and support during my placement at Maison Givenchy. Together with my mother, I have crafted a wool knit scarf using wool sourced from local Palestinian shops, all while operating within a reparative production cycle. I proudly collaborated with eight exceptionally skilled female artisans specialising in cross-stitch embroidery; for them, this craft is a vital source of income for their households. In essence, my graduate collection is a powerful celebration of creativity and craft preservation from my hometown. It unapologetically addresses the devastating effects of genocide and war on the survival of a vibrant culture.

Q. Futures plans?

I am determined to forge a successful career in the fashion industry, where I will acquire essential skills, gain rich experiences and build powerful connections. My ultimate ambition is to establish a dynamic business that drives collaboration among like-minded individuals, with a strong focus on uplifting Palestinian creatives. I will create a production cycle that empowers my community and showcases the undeniable talent of local artists.

Incorporating my identity into my work is not just important; it is essential. I'm committed to confronting socio-political issues within the fashion landscape and raising critical awareness of the industry's environmental impacts. Through my designs, I will deliver bold statements that inspire change, foster meaningful dialogue, and promote a more thoughtful and responsible approach to fashion. My aim is to craft pieces that not only enhance personal expression but also challenge the status quo and elevate our collective voice.
All images provided by Ayham Hassan.

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We caught up with fashion design student Ayham Hassan, their work features in our current exhibition Thread Memory: Embroidery from Palestine.

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These activities were created as a collaboration between Scottish illustrator Cara Rooney and Palestinian designer/embroiderer, Wafa Ghnaim. They were commissioned by V&A Dundee on behalf of an exhibition about tatreez (the Arabic word for embroidery), called Thread Memory: Embroidery from Palestine. The exhibition is on view now through April 2026. Each activity features textile designs that can be found in the exhibition. Symbols and stories are woven together to share this intangible heritage from Palestine.

The lessons were developed by Gary Jamieson, Schools Development Officer at V&A Dundee (the SDO role is a seconded post provided by Dundee City Council).

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Big Questions for Interdisciplinary Learning

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Big Questions for Interdisciplinary Learning

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1. Identity and Expression

How can art and design help us tell stories about who we are and where we come from?

What symbols would you choose to represent your own identity, and why?

Links to CfE: Expressive Arts, Health & Wellbeing, Literacy

2. Culture and Connection

What can we learn about Palestinian culture through embroidery and traditional clothing?

How do different cultures use nature in their art, and what does that tell us about their values?

Links to CfE: Social Studies, Sciences, Expressive Arts

3. Memory and Storytelling

Why is it important to preserve stories through objects like clothing or art?

How can we use imagination to explore the lives of people from different places and times?

Links to CfE: Literacy, Technologies, Social Studies

4. Solidarity and Shared Values

What does it mean for two cities like Dundee and Nablus to be ‘twinned’?

How can art help communities show support and stand together across borders?

Links to CfE: RME, Social Studies, Expressive Arts

5. Nature and Place

How does the natural world inspire art in different cultures?

What connections can you find between your local environment and the designs in Tatreez?

Links to CfE: Sciences, Expressive Arts, Literacy

6. Observation and Discovery

What can we discover by looking closely at patterns, creatures, and symbols in art?

How does exploring help us understand the world around us and the stories within it?

Links to CfE: Sciences, Literacy, Expressive Arts

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Tatreez Big Questions – Pupil-Friendly Versions

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Tatreez Big Questions – Pupil-Friendly Versions

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1. Who Am I Through Art?

Can you use shapes and colours to tell a story about yourself?

What symbols would you choose to show what’s important to you?

2. Learning from Other Cultures

What can we learn about Palestinian life by looking at their clothes and patterns?

How do people in different places use nature in their art?

3. Stories in Fabric

Why do you think people keep special clothes or objects from the past?

Can you imagine who might have worn a Thobe and what their life was like?

4. Dundee and Nablus – Friends Across the World

What does it mean for two cities to be twinned?

How can art help people from different places feel connected?

5. Nature in Art

What plants or animals do you see in your local area?

Can you find similar ones in Palestinian designs? What do they mean?

6. Looking Closely

What can you spot in the patterns and pictures around you?

How does looking carefully help us learn new things?

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Thread Memory: Embroidery from Palestine

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Thread Memory: Embroidery from Palestine

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Thread Memory: Embroidery from Palestine

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Thread Memory: Embroidery from Palestine

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Explore the history of Palestinian dress and the ancient practice of elaborate hand-embroidery