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RIYADH: Long before synthetic dyes and mass production became commonplace, handicrafts were coveted art forms.

As ������Ƶ celebrates 2025 as the Year of Handicrafts, the work of artisans throughout history is in the limelight once again.

Artists and artisans across the Kingdom are reviving traditional crafts to reinvent contemporary artforms, including a resurgence in natural dyeing techniques.

������Ƶ artist Hana Al-Milli told Arab News: “I believe there is a renewed appreciation and effort to value these practices within the cultural scene.

“On one hand, there is a focus on preserving traditional methods in their original form. On the other (hand), contemporary artists, including myself, are reinterpreting these techniques in ways that make them relevant today.

“This dual approach ensures that the craft is both honored and given new life in modern contexts.

“In addition, many cultural initiatives now actively promote the teaching and learning of traditional crafts, instilling pride in Saudis and encouraging us to preserve and celebrate our heritage.”

Al-Milli graduated with a Bachelor of Fine Arts in Textiles and Fiber Arts, where much of her experimentation with materials began, including natural dyes.

“I discovered a passion for natural dyeing because it became a way to express heritage and history — two vital themes in my artistic process.

“It became an essential part of my work when I began researching natural dyes in the Arab world and uncovering their many connections to cultural practices.

“Through this research, I found both a conceptual and personal resonance. The process itself also requires reflection and patience, which mirrors the rhythm of my practice and gives depth to the multiple layers in my work.”

Her dyeing process begins with selecting both the fabric and the dye source, noting that natural dyes imprint differently on various natural fibers.

There are many techniques; some are more spontaneous, such as bundle dyeing, and others more structured, like the traditional Japanese resist-dye method shibori, as well as full immersion.

“There isn’t a single right way to dye; it depends on the desired outcome and the intended use of the textile. Personally, I often use bundle dyeing because it produces a raw and organic quality,” Al-Milli said.

For her, this knowledge about natural dyeing processes includes the responsibility to share these techniques with young, emerging artists.

“I see my practice not only as a personal artistic expression but also as a way to preserve tradition.

“By integrating natural dyes into my work, teaching others, and framing my themes around heritage, I contribute to keeping these techniques alive and evolving in contemporary contexts,” she explained.

While her practice also incorporates techniques such as silk-screen printing, photographic imaging on textiles, and embroidery, natural dyeing holds a special place in her heart.

Artists like Al-Milli prefer it because of its eco-friendly and sustainable nature, while being tied to heritage. The Kingdom is incentivizing other artists to experiment with the technique.

������Ƶ artist Zainab Abo Hussain, known for her miniature paintings, has taken on natural dyeing in her most recent artwork produced during Misk Art Institute’s screen-printing residency.

She produced a fabric carpet dyed with henna and saffron, and screen-printed using pigments extracted from pomegranate seeds and peels, as well as saffron, indigo, and other natural materials.

The decorative style is inspired by ancient Arabic manuscripts and miniatures, presented in a contemporary form.

“The Kingdom is making sure that it’s coming back, and you can see in AlUla (for example), they have women doing the weaving as well, the baskets and Sadu,” said Suhailah Abdelaziz, a Moroccan-American textile-based artist who was raised in ������Ƶ.

AlUla’s Madrasat Addeera has put on workshops on the traditional art of textile dyeing, administered by Turquoise Mountain Arabia, where attendees learn to create natural dye from organic ingredients, such as pomegranate and turmeric, found in AlUla’s lush oasis.

Other workshops have also been put on by the National Museum and the Diriyah Biennale Foundation as a part of their programming.

Sadu weaving is an iconic Saudi handicraft, traditionally done by women in the southern regions of the country, where wool or camel hair is dyed naturally and woven into geometric patterns.

Another is the Al-Qatt Al-Asiri architectural style, another tradition originating from the southern regions, where women have long used natural pigments to create brightly colored, geometric wall paintings.

“For Sadu weaving, before they start weaving, they’ll dye the yarn either with Cochineal, which is essentially like a bug. You crush the bug, and then you can extract the dye, as well as Madder and Kermes,” Abdelaziz explained.

“Mostly, they use synthetic dyes now, due to globalization, but back then, they used to use saffron and henna to create these geometric patterns.

“And historically, they would use leaves, roots, petals, or any other natural resources. But mostly all the synthetic dyes right now are imported from India, Kuwait, etc.”

While synthetic dyes are considerably easier to use than organic ones, Abdelaziz prefers the experimental method that resembles adding a new voice and pushing it forward with each piece of fabric.

Abdelaziz is the founder of Third Culture Child, a clothing concept brand inspired by her multicultural background, aimed at bringing playfulness and a wondrous spirit into clothing.

She uses various techniques including Batik, Indian block printing, and Japanese Shibori, that are reinterpreted through her own lens to make abayas.

By using natural dyes, like the rare ancient indigo pigment, madder root, henna, and logwood extract, her work hopes to keep the connection between the past and the present intact, while inspiring others to do the same.

“I like seeing what I can mix and what comes up. Each piece is slowly made and the dying process — it’s very rigorous, but the clothing carries the imprint of this process.

“Textiles hold the memory transformation, so it goes beyond clothing,” she explained. “It does demand you to remain patient and respect the material, respect the fabric. And it also adds depth and meaning to the finished piece.”

RIYADH: From the intricate Sadu weaving of Najd to the mountainous wicker crafts of Al-Baha and the delicate woodwork of Hijazi architecture, ������Ƶ’s “Year of Handicrafts” is a national effort to commemorate, support and preserve the Kingdom’s diverse cultural heritage.

“The Year of Handicrafts has a great impact on traditional handicrafts,” Dr. Dalia Al-Yahya, head of the handicraft sector at the Ministry of Culture’s Heritage Commission and general manager of the Year of Handicrafts, told Arab News.

“It sheds light on the artisans, on the handmade works and on the richness that the Kingdom of ������Ƶ is known for.”

Driven by Vision 2030, the Year of Handicrafts is a strategic initiative to honor and preserve ������Ƶ’s rich cultural heritage through the time-honored tradition of passed-down crafts.

“I believe that handicrafts, this year, have an impact on two different areas,” said Al-Yahya.

“The first area is related to preserving these traditional crafts and enhancing the identity of citizens and the sense of belonging to the region, especially since the Kingdom of ������Ƶ is characterized by the richness and diversity of its traditional crafts.

“In the other area, this year aims to enhance the status of artisans, train them and market their products, and sheds greater light on them as entrepreneurs in this field, in addition to the institutions and associations that work in the field of handicrafts.”

The Year of Handicrafts is part of a broader series of cultural years that have previously focused on topics such as Arabic calligraphy and poetry, Saudi coffee, and camels.

It aims to achieve several key objectives, such as enhancing cultural identity, empowering local artisans, promoting Saudi crafts globally, and connecting with artisans and the local and international community.

Under Vision 2030, the Heritage Commission is actively working to preserve the Kingdom’s handicrafts from each region while also sparking an entrepreneurial spirit in artisans to build a sustainable future.

The commission has dedicated a handicrafts sector that works to develop regulations, train artisans and market their products locally and internationally.

“The heritage authority has worked on many initiatives to empower artisans. The most important of these is the craft licenses,” said Al-Yahya.

Under their online platform, Ibda’a, the commission issues licenses to individual artisans and craft businesses. As of 2025, there are 4,855 licensed artisans.

A project called “Artisans House” serves as a space for raising awareness, training and developing traditional craft products while another scheme to preserve handicrafts includes the Saudi International Handicrafts Week, “Banan.”

This aims to highlight ������Ƶ’s heritage by promoting cultural exchange with other countries, of which more than 25 took part in the early editions. The third will be launched in November, with a focus on introducing and marketing handicrafts.

“Approximately more than 500 exhibitors, both local and international, are participating,” said Al-Yahya.

Handicrafts serve as an authentic cultural lens into a region’s identity, with each piece drawing inspiration from its diverse landscapes and local surroundings. These crafts often use specific materials native to their area.

Al-Yahya highlighted the diversity to Arab News.

“If we look at coastal crafts, such as in some areas like Yanbu, Al-Qatif, and other coastal areas, these crafts are always related to the water that exists in the place, such as the craft of fishing nets, the manufacture of wooden ships, or even jewelry and gems related to shells or pearls and other crafts,” she said.

“If we take the mountainous regions, for example in Asir, we see that the crafts are related to this location, such as stone utensils, wooden boxes, wool and others that can withstand the cold of the weather and the geographical location.”

In the northern reaches of the kingdom, the traditional skill of Al-Naddafa, or wool and cotton processing, transforming raw materials into bedding and quilts, has long been practiced

Further south in the Najran region, a different kind of artistry thrives. The crafting of the Janbiya, a ceremonial dagger, is a skill passed down through generations.

These daggers serve as cultural symbols, each one featuring an intricately decorated blade and a sheath often covered in local leather or silver, worn with a leather belt.

In the green mountainous region of Al-Baha, wicker craft is a deep-rooted tradition, primarily practiced by women. Using locally sourced plants, they weave a variety of functional, everyday items, from baskets and bags to furniture, blending practicality with artistry.

And in the Hijaz region, woodwork known as Al-Rawasheen, has had a deep impact on the area’s historic architecture. It is visible in the decorative wooden protrusions on buildings in cities like Jeddah, Makkah, and Taif and, beyond the design, these structures serve a practical purpose — providing shade, privacy, and airflow in the hot climate.

Another example of a Saudi handicraft is Sadu weaving, recognized by UNESCO, which uses yarn made from sheep wool, camel hair, and goat hair to create blankets and other items featuring distinct symbols inspired by the desert.

Al-Yahya said the work led by the Heritage Commission also contributed to supporting the local economy by increasing artisans’ income.

“The biggest challenge we faced was balancing the need to find or preserve the authenticity of handicrafts with the current market needs,” she said.

“However, at the Heritage Commission we’ve launched many initiatives to strengthen this aspect and preserve the authenticity of these crafts.”

She said the commission’s “Craft Houses” initiative empowered craftspeople to create new designs, blending traditional heritage with modern standards.

“We have over 14 craft houses across the Kingdom, and each one focuses on the crafts found in its region,” she said.

“By reviving these crafts, there has been greater marketing for these traditional products, especially from visitors from outside the Kingdom of ������Ƶ. So every visitor wants to get a piece connected to this place.”