Bedouin looms to refugee hands: The MADE51 x AlSadu Society Collaboration
Posted by MADE51 Team on
MADE51, a brand of refugee-made products created by UNHCR, the UN Refugee Agency, has collaborated with the AlSadu Society in Kuwait to launch a capsule collection that brings together Bedouin weaving traditions with contemporary leather craftsmanship - both produced by refugee artisans in Alexandria, Egypt.
(Malaz Adam, a refugee from Sudan, shows a keyring she crafted using the Al Sadu weaving technique. Credit: Pedro Gomes, Alexandria, Egypt)
What is AlSadu weaving?
AlSadu is a Bedouin weaving tradition historically practiced by women on horizontal ground looms, producing tightly woven, warp-faced textiles from camel, sheep, or goat fibers. Its rhythmic, geometric patterns draw on desert landscapes and social symbolism. In 2020, “Traditional weaving of AlSadu” was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity (Kuwait & Saudi Arabia). Earlier, in 2011, the United Arab Emirates inscription placed AlSadu on UNESCO’s List in Need of Urgent Safeguarding - underscoring its cultural significance and the need for transmission.
"AlSadu weaving is a living testimony of our history. It embodies the story of the desert, the resilience of women, and the creativity of our ancestors." - Sheikha Bibi AlSabah, Chairwoman of the AlSadu Society’s board
(Hanaa, a refugee from Sudan, seen with a loom she has been using to weave bag straps alongside other refugees from Yemen, Sudan and Syria. Credit: Pedro Gomes, Alexandria, Egypt)
The AlSadu Society is a non-profit dedicated to preserving, documenting, and promoting Kuwait’s textile heritage. The society preserves the full spectrum of Kuwait’s textile heritage — from traditional Bedouin weaving to the later adaptations and creative practices. Sheikha Bibi Duaij Jaber AlAli AlSabah, Chairwoman of the AlSadu Society’s board, initiated this collaboration with MADE51, reflecting her long-standing commitment to safeguarding this heritage skill. Keep reading for a Q&A with Sheikha Bibi below!
Why connect AlSadu weaving with refugees?
Refugees often leave behind their livelihoods when fleeing war and persecution, but they carry their traditions, skills, and craftsmanship. Egypt currently hosts over one million UNHCR-registered refugees and asylum-seekers from over 60 nationalities. Sudanese are the largest group, followed by Syrians, with significant communities from South Sudan, Eritrea, Ethiopia, Somalia, Yemen, and Iraq. Many bring skills - from beading to embroidery - that risk being lost amid ongoing displacement.
(Khetam, a refugee from Syria (R), trains Sudanese refugees on how to weave a bag strap using the AlSadu weaving technique. Credit: Pedro Gomes, Alexandria, Egypt)
Through MADE51, UNHCR, the UN Refugee Agency, enables refugees to earn a fair wage from their heritage and skills, utilizing an ecosystem approach that connects them to local social enterprises and global markets. This model strengthens ethical enterprises, supports artisan skill development, and demonstrates the creativity and talent refugees bring to their host communities.
The collaboration
The collaboration began from a shared recognition that AlSadu weaving, rooted in stories of resilience and craftsmanship, resonates deeply with the experiences and skills of refugee artisans. UNHCR and AlSadu Society ran a five-day training in Alexandria for 15 refugee women from South Sudan, Sudan, Syria, and Yemen, building weaving skills. The program introduced AlSadu weaving techniques and prepared refugee artisans to take part in MADE51, connecting their skills to market opportunities. Sheikha Bibi Duaij Jaber AlAli AlSabah, together with Al Sadu instructors Masirah Al-Enizi and Seeta Al-Mirri, joined the artisans in Alexandria to open the workshop and mark the start of the collaboration.
Refugee artisans produced the AlSadu woven pieces working with Yadawee, a Cairo-based MADE51 social enterprise partner and WFTO-guaranteed member. Samar Hakim, an Alexandria leather studio and MADE51 partner, worked with refugee artisans to craft the capsule’s leather components.
The MADE51 x AlSadu Society Collection
AlSadu Key Ring
This accessory pairs AlSadu weaving with leather finishing, creating a durable, meaningful piece that slips easily onto your keys or bag. A small object with a big story—heritage reimagined for modern life.
AlSadu Leather Crossbody Bag
Smooth leather craftsmanship meets a woven, detachable strap, blending heritage and functionality in a timeless silhouette for everyday use.
AlSadu Bag Strap
Finished with reinforced leather ends, this strap clips easily onto your handbags, adding a beautiful heritage skill. Strong, comfortable, and design-forward, it carries an empowering story of cultural preservation.
In conversation with Sheikha Bibi
1. AlSadu weaving is such an important part of Kuwait’s Bedouin heritage. What first inspired you to dedicate yourself to preserving this craft, and why do you see it as vital for Kuwait’s cultural identity today?
AlSadu weaving is a living testimony of our history. It embodies the story of the desert, the resilience of women, and the creativity of our ancestors. I was inspired by the sense of continuity it offers, a thread that ties our present to our past. Preserving it is not only about heritage, but about affirming identity, pride, and belonging in a rapidly changing world.
2. You have been deeply involved with the AlSadu Society’s work. Could you share a little about how you personally learned about this craft and what drew you to it?
I grew up surrounded by the beauty of Sadu patterns. My mother; Sheikha Altaf Salem AlSabah is the patron of AlSadu Society and from a young age we learned the deep meanings and symbolism behind these textile arts and the importance of safeguarding them. Over time, I began to see how fragile these traditions were becoming, and I felt a responsibility to act. What drew me most was the strength of the women who wove, their artistry, and their ability to turn wool into beauty and hardship into creativity.
3. From your perspective, what are the biggest challenges facing traditional craftsmanship — both in Kuwait and in refugee communities?
The challenges are similar. There is the risk of losing knowledge when it is not passed on, and there is also the undervaluing of handmade work. For refugee communities, these challenges are multiplied by displacement and instability. Yet the resilience is extraordinary, and craft often becomes a lifeline.
4. The collaboration with MADE51/UNHCR and our social enterprise partners, Yadawee and Samar Hakim, training refugee artisans in Alexandria was a significant step and commitment. How has it been working directly with refugees, and what have you taken away from that experience?
Working directly with refugee artisans has been heartwarming. I witnessed their courage and their determination to maintain dignity through their craft. The exchange between Kuwaiti weavers and Syrian artisans is a reminder that heritage is universal and transcends borders.
5. Khetam, of the Syrian artisan leaders you met, has been such an important part of this collaboration. How did hearing her story affect your own understanding of heritage preservation and resilience?
Khetam's story brought heritage to life in the most human way. She spoke of weaving as a way of surviving, healing, and holding onto identity. It reinforced for me that preserving heritage is not about nostalgia, but about resilience and continuity, ensuring people remain connected to who they are, wherever they may be.
6. You’ve spoken about your admiration for the MADE51 model. How do you think this approach could help refugees around the world?
The MADE51 model recognizes that refugees are not passive recipients of aid but talented individuals with skills to share. By connecting artisans to markets, it restores self-reliance, creates livelihoods, and shows the world the beauty of cultures that might otherwise be overlooked. It is both a humanitarian and cultural bridge.
7. Recognition of AlSadu weaving by UNESCO and WIPO has been an important milestone. Why do you feel these kinds of recognitions matter — both for Kuwait’s cultural heritage and for the artisans themselves?
These recognitions validate the importance of what has always been part of our identity. They amplify the voices of artisans and place them on the global stage. For Kuwait, it demonstrates our leadership in safeguarding intangible cultural heritage. For the artisans, it instills pride and affirms that their work has both local and international value.
8. Looking ahead, what is your vision for the future of AlSadu weaving — both in Kuwait and among displaced communities learning this craft?
I see AlSadu weaving as a living, evolving tradition. In Kuwait, my vision is to continue training younger generations, innovating with sustainable practices, and keeping the craft relevant in contemporary life. For displaced communities, I hope it becomes a source of livelihood and empowerment and a way to carry heritage forward even in difficult times.
9. With this new collaboration now launching, what do you hope people will feel when they own a piece from this collection?
I hope they feel connected to two stories at once: the story of Kuwait’s heritage and internationally recognized humanitarian work, as well as the story of resilience from refugee artisans. Each piece carries the weight of history and identity. I hope people see it not just as a product, but as part of a shared journey.
10. Finally, what advice would you share with other leaders or organisations who want to safeguard traditional crafts, especially in contexts where heritage and livelihoods are at risk?
Listen to the artisans, value their knowledge, and invest in creating sustainable pathways for their work. Safeguarding craft is not about preservation in a museum sense, but about enabling it to live, adapt, and thrive. Build partnerships that respect heritage and also respond to contemporary needs that is where true sustainability lies.
(Sheikha Bibi Duaij Jaber AlAli Al Sabah, Chairwoman of the AlSadu Society’s board (R), attends the first training of refugee artisans in Alexandria, Egypt in 2022)
Pre-orders are now open
Pre-orders open October 6, aligning with UNHCR’s 76th Executive Committee (ExCom) in Geneva (October 6–10, 2025 at the Palais des Nations) - a fitting moment to spotlight refugee livelihoods through craft.