From Heritage to High Fashion : The Designer Reimagining Egypt’s “Telli” for the Modern World

Telli (also spelled Talli or Telley) is a traditional form of Egyptian embroidery, distinguished by its use of shimmering metallic threads, typically silver or gold. Historically, these threads were made from real metal wire wound around silk or cotton, giving the embroidery its signature lustre. It is a meticulous braiding and knotting technique, worked on small handheld looms to create intricate bands of patterns that are then stitched onto garments. Its geographic heartland is Upper Egypt (Sa’id), particularly the city of Sohag. Bab Masr speaks with one designer determined to give handicraft a new lease on life.

Egyptian Telli embroidery is a centuries-old language of symbols, where motifs like the “Bride” and the “Camel” tell stories passed down through generations. Yet in recent decades, this prized adornment for festive wear began to fade, seen by many as a relic. But designer Hala Fouda saw a vibrant future. Her lifelong love for Telli has blossomed into “Talina,” a brand on a mission to weave this heritage into the fabric of modern, daily style. Her creations masterfully honour ancient tradition while speaking to the contemporary wearer, proving that cultural legacy can be both globally chic and intimately personal.

What made you believe that Upper Egyptian Telli could go from traditional wear to a global fashion statement? And why Telli in particular?

I believe Telli was already a global fabric before I chose it. It’s often better known internationally than it is here at home. I chose it because I think it’s one of the most stunning examples of Egyptian heritage wear. I’ve adored its designs for years.

The idea really clicked at a heritage exhibition. Everything on display was a shawl or a traditional robe (galabiya). There were no dresses, no trousers nothing you could actually wear in daily life. That style simply didn’t exist in the market then.

That’s when the idea took root. I connected with Ms. Afaf Aref, a true Telli pioneer from Shendweel Island in Sohag, and we realised we could bring this to life together. She’s incredibly skilled and open to innovation. When we launched our first collection, the response was immediate. People were excited to wear Telli in a modern way, every day. It wasn’t just “costume” anymore.

Through research, I discovered Telli has a rich cinematic history. It featured in old Egyptian films and even in old Hollywood. The silver and gold threads caught the light perfectly on screen. Stars wore it in the 1920s during the silent film era. It’s always had a global footprint. My hope is that Egyptians rediscover it, too—not just for celebrations, but as part of our daily style. The embroidery is elegant yet simple, and wearing it is a quiet way to celebrate who we are.

Are your designs based on specific historical motifs, or are they more freely inspired?

Telli motifs are historical; there are about 70 to 80 distinct patterns. From the very beginning, I was careful to document and replicate them precisely. Changing a motif would be like changing a letter in the alphabet. It’s a fixed part of Telli’s identity.

Our creativity comes in how we use the motif in a design. At “Talina,” every artisan follows the exact stitch count for each pattern. That discipline preserves the language of Telli while letting the design feel new.

Has your academic background influenced how you approach heritage in your work?

Absolutely. It taught me how to research,to dig into Telli’s history through Egyptian and global archives. Part of my mission is documentation. I’ve collected every motif I could find, even lesser-known ones.

It’s important not to just use the two or three most popular patterns, like the “Bride” or the “Camel.” Others deserve recognition, too. On social media, we sometimes post graphics of motifs with their names in Arabic and English, so people can learn to “read” them. Every motif has a name and a story. There’s also a historical mission here. I’ve traced Telli back through old texts like Al-Jabarti’s chronicles. We’re working toward UNESCO recognition, so we need to prove how long it’s been part of Egyptian culture. Records suggest it was well-established in Upper Egypt by the early 19th century. It was valuable enough that Muhammad Ali’s government tried to monopolize its production. Some even think the threads were made in the same workshops that produced the coverings for the Kaaba in Mecca. That’s how prestigious this craft was.

What’s the bigger challenge: preserving Telli’s authenticity, or convincing people it’s genuinely Egyptian?

Preserving authenticity requires awareness, but that awareness is growing. The real challenge, I think, is local. Internationally, Telli is recognised as Egyptian. Other regions have their own forms of metallic embroidery, sometimes called telli, but Egyptian Telli is distinct. It’s not just “pretty embroidery”, it’s a visual language tied to our identity. Each motif carries meaning. That’s what we protect: a heritage that is undeniably and beautifully Egyptian.

Can bringing heritage into fashion risk losing its original meaning?

Only if we let it. If we stay true to the craft while reimagining its form, we protect it and help it thrive. But if we alter its fundamental language, change the motifs, cut corners, then we erase it. My focus is on innovation that respects origin. The design evolves; the soul of Telli does not.

What did it mean for “Talina” to be part of Cairo Design Week?

It was about sending a message, one I think landed. The event celebrates innovation and unique design, and I wanted to show that “innovation” doesn’t have to mean looking to the West. It can mean looking to our own past.

The message is: We can define a style that is ours, inspired by our heritage, and wear it with pride. I saw that click for people. Younger audiences, people in their twenties who’d never seen Telli before, looked at a dress or a jacket and said, “I’d wear that.” That was the moment I knew this wasn’t just for older generations,it’s for anyone who values where they come from.

Do foreign and Egyptian audiences view heritage fashion differently?

Foreign audiences often approach it with deep respect for craft, for the handmade, for natural materials. We use only natural fabrics: linens, cottons, handwoven on traditional looms in Akhmim. That matters to them.

For me, Telli is a way to support an entire ecosystem of Egyptian craftsmanship. Our embroiderers are from Sohag, the heartland of Telli. Our fabrics come from there. By keeping that chain intact, we’re supporting handloom weaving, natural dyeing, and artisanal skill. The final product tells that story: that Egypt has beautiful, valuable crafts worth celebrating.

Have you considered expanding with training workshops across Egypt?

Telli embroidery is extremely difficult. It requires patience, talent, and precision,more so than many other forms of embroidery. Traditionally, it was taught at home, from mother to daughter.

Workshops are a start, but mastery requires long-term mentorship. We do training primarily in Sohag, where the knowledge is deepest. After a workshop, we provide work and ongoing guidance. It’s about sustaining the skill, not just teaching a class.

Who dictates fashion in Egypt today—the market, global trends, or social media?

All three have influence. But I’m wary of a new force: influencers. Popularity can overshadow purpose.

Fashion should adapt to us,to our climate, our lifestyles, our sense of self. The real creativity is in taking global trends and blending them with who we are as Egyptians. It’s not about copying; it’s about translating.

Can Egypt create its own distinct fashion identity?

We must. The obstacle hasn’t been a lack of ideas, but sometimes a gap in execution,finishing, fabric quality, and consistency. And yes, price is a factor. It’s hard to compete with mass-produced imports.

But that’s where perspective shifts. It requires patience from the customer,a willingness to invest in something made here, with care. And it requires intelligence from designers: to create pieces so compelling that choosing Egyptian isn’t an obligation, but a desire. We have the history, the craft, and the creativity. Now we’re building the trust.