ShareKUWAIT: Artists from across the Gulf came together to celebrate the region’s rich intangible heritage at the ATHR Jewelry Cultural Platform, organized by Al-Sadu Society on Tuesday as part of the Qurain Cultural Festival. Drawing inspiration from Oman’s desert journeys, the UAE’s khous weaving crafts, Qatar’s traditional tents, Bahrain’s iconic attire, and Kuwait’s minimalist style, the event showcased the timeless art of Sadu weaving. It highlighted both traditional techniques and modern interpretations, reimagining heritage through contemporary design.
Kuwaiti designer Anas Alomaim, an assistant professor at Kuwait University, described Kuwait’s approach to ornamentation as “subtle and minimal.” Alomaim said he appreciated the understated elegance loved by Kuwaitis. “When you reduce some details, you encompass more people and more cultures,” he explained. For Alomaim, the Gulf’s cultural fabric is woven not only in Sadu but also in cuisine, dialects, and shared heritage. “The differences between us highlight the beauty of our unique identities,” he added. With that in mind, Alomaim is hosting a panel discussion with the artists participating in the event, where he looked forward to “learning from their experiences and finding inspiration in their stories,” he said.
Saudi Arabian artist Reem Almashoug drew inspiration from her grandmother’s craftsmanship in her displayed collection. “I started and was inspired by my grandmother—I always watched her weaving Sadu, observing how every pattern and line carried meaning,” she said. “A piece can be worn, but behind it lies a story, meaning, and heritage.”
She emphasized the timeless nature of these traditions, adding: “The old is not distant; in fact, it is our present and future if we know how to embrace and develop it in a modern way.” For UAE artist Majedah Al-Awadhi, tradition is a foundation rather than a boundary. “I reimagined traditional Arabic gold pieces,” she explained, referring to Tabla, a square-shaped Emirati jewelry piece she modernized while preserving its Sadu essence.
Qatari designer Abdullah Al-Fakhroo, founder of Medad Jewelry, drew inspiration from Quranic text. “It’s about identity, about embracing our heritage as Arabs and Muslims.” his cousin, representing him at the event, said.
“You’ll notice the pieces are modern and tailored to contemporary tastes, yet they remain deeply rooted in our traditions.” Reflecting on the region’s historical connection to pearl diving, he pointed to one of the jewelry pieces and added, “Mother of Pearl, for example, isn’t just a material — it’s a reflection of our history.” Omani designer Nadia Al-Shamsi found resilience and beauty in Arabian camels — central to her Desert Threads collection.
“Heritage isn’t static; it evolves,” she noted, drawing parallels between Sadu and Oman’s architectural and cultural icons, from carved windows to traditional turbans. “Our traditions all stem from the same roots.” Also among the artists was Bahraini jewelry designer Fatima Akbar, who shared her insights about her work. Discussing her choice to draw inspiration from traditional attire, she said: “I chose to focus on traditional fashion because it aligns with the upcoming holy month of Ramadan.”
As for the differences between Bahraini and Kuwaiti Sadu weaving, Akbar clarified: “There’s not much difference, but our method of stitching the naqda is a bit distinct.” She also highlighted key features that make Bahraini Sadu unique: “Bahraini Sadu stands out for its geometric designs, especially the use of triangles, which we incorporate in a slightly different style from other traditional designs,” she said.
Sheikha Bibi Al-Sabah, Chairperson of the Al-Sadu Society – Weaving Cooperative, highlighted the aim of the event. “This is about inspiring a new generation to find creativity in their heritage—to see what unites us and what makes each of us distinct.”
