Laura Dayoub

@threadsofhope — surface language In the close-up, the chair reveals its inner rhythm. Threads interlace into dense, tactile fields, expanding into three-dimensional textures that mimic the layered structure of palm fronds. Each stitch carries variation, holding the imprint of the hand that made it. Beading punctuates the surface. Clusters emerge like fruit, referencing dates and doum, symbols of nourishment and abundance across the region. Nothing is applied without meaning. Every element holds a reference. The armrests, backrest, and seat dissolve into a continuous surface, blurring the boundary between structure and textile. What appears soft carries strength. What appears decorative carries narrative. Seen closely, the chair becomes a landscape. Of movement, of labor, of memory. A tactile expression of resilience, where material, craft, and identity are woven into one continuous form. Position 006 — revealing. Photographer: @louay_nasser Creative studio: @maisonmehany #dontanani#designmadeinegypt

Position 005 — @threadsofhope Rooted, yet always reaching upward. This piece begins with the palm, not only as material, but as a living symbol embedded across cultures of the region. From Phoenix dactylifera to Hyphaene thebaica, the palm has long stood as a figure of resilience, a being that bends, adapts, and continues to grow in the harshest conditions. Across geographies, it has carried layered meanings: a source of nourishment, a provider of shade, a marker of hospitality, a symbol of endurance and renewal. A tree that gives, endlessly. Within this context, the chair becomes more than an object. It becomes a reflection. Developed in collaboration with Threads of Hope and Laura Dayoub, the piece embodies a shared condition of resilience and continuity. For the women behind its making, the palm is not symbolic alone; it is lived experience, memory, survival, and identity. The chair translates this into form. Threaded surfaces expand and contract like woven fronds. Beading introduces moments of abundance, echoing clusters of dates. Structure and texture move together, creating a sense of rhythm, of growth, of becoming. To sit is to enter this language. To momentarily inhabit the palm. Not as an observer, but as part of it. Because here, the palm is not separate from us. We are the palm. The journey extends.

Warning:These accessories may cause intense cravings 😋

Details& BTS 📹✨

A little moment for the Nakhl Chair, Made out of Palm, this chair was born out of a collaboration between @threadsofhopecairo , @dontanani and myself, an embodiment of craftsmanship, design and a little funky spirit. The concept is simple, deconstructing the palm tree, but several things came into play. Firstly, it was constructed by refugee women and we wanted to put the spotlight on that, making them not only part of the production but entangling them fully into the story. These women come from several parts of the region, from Palestine to Sudan, two palm trees being local to their lands: the date palm and the doum palm. The colours of which are reflected in the beads. Secondly, I wanted to look deeper into what the palm tree has signified for us as a people, to highlight the abundance and endurance of our region through its elements, its leaves offered us shelter from the sun, its fruit allowed us nourishment. In itself the tree is resilient, by dressing the chair as a palm tree I wanted anyone who sits on it to feel as though they have become a part of it, because our region is one of resilience, in short, we are the palm tree, rooted in our lands yet always reaching upwards with grace. Shout out to Mme. Amal and Sherine, the knitting and crochet geniuses that made all this possible!

Carolina wearing the asymmetrical top made from dead stock leather. What’s really cool about this piece is that it started with the material itself, the leather was discarded because of a color defect (seen in the back) its spine-esque look immediately inspired me to create this corset-like top. Even the unwanted can become something beautiful, what one person disregards can be another’s source of inspiration 🦋💫 Team <3: Model: @carolina__sandoval Stylist: @mariamsawi_ Makeup: @dayoublea Photographer: @lucassalama

A little cam corder BTS 💜💚

Tea party for one in which a question resonates: How do you reframe tradition? I quickly found myself thinking of the Tarboush and Ottoman vest, shifting the silhouette ever so slightly to allow a more modern structure with a high neck and boxy fit. In an industry where our garments were often considered costumes instead of fashion, how do we reclaim our roots, with the lens of today? With our silhouettes only loved when designed by the west, how can we find novel space within them? I’ll let these thoughts simmer. Sip on them gently. Material: Second hand denim from Wekala :)

I find that so much beauty lies in the natural curves of leather, the way it arches, almost as though it’s misbehaving. There is something charming yet raw that comes from working with its form. The leather skirt is a reminder of that, built on the hide’s cuves it recalls what was once alive in a completely different way. On the opposite side of materiality, when i first saw the tweed fabric, i just wanted to wrap myself inside it, so i created my own version of a cocoon. It’s pink and fluffy just how i like it. Half comforting, half raw. The team <3: Model: @carolina__sandoval Stylist: @mariamsawi_ Photographer: @lucassalama Makeup artist: @dayoublea Materials: tweed ( deadstock haute couture from France) leather (deadstock @leopelleworld )

A modern Sherlock, caught between TikTok discourse and nostalgia for times she never knew. What is she reading? Nonsense. What is she looking for? She doesn’t know, she finds funny memes instead. The silhouette varies between flow and restriction, through the use of darts and a leather “garter belt” Materials: Dead stock checkered cashmere from Lebanon 🫶🏼 Dead stock leather garter belt skirt from @leopelleworld

These pieces were built out of linen and questioning. What does belonging look like when you exist between worlds? The silhouette borrows from the traditional gallabeya, reframed through modern cuts as an act of regendering, reclaiming and finding self through form. The pieces stand at a crossroad, part reinvention, part tradition. The team <3: Models: @_kassi.i_ @nicolemendozza_ Photographer: @lucassalama Makeup artist: @lea.dayb Materials: linen fabric from India

Two piece denim crochet set made out of my high school jeans. It’s funny how objects and garments can be transformed, they hold memories, a whole other life, and now they are reborn. I like to think of it as recrafting the past. I feel like it redefines what our garments can mean to us. If we can change throughout our lives, why can’t our clothes too? The team <3: Photographer: @lucassalama Stylist/ model: @mariamsawi_ Makeup artist: @lea.dayb