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https://www.designforsocialchange.org/journal/index.php/DISCERN-J 
 
ISSN 2184-6995 
 
This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 
International License. 

 

  

 

 
 
Exploring the design motifs of Wollo Gabi in Ethiopian textiles and design 
development of women’s fashion accessories 
 
Tewodros Tenagne, Temesgen Agazhie, Michael Reta, Hazal Gümüş Çiftçi 
 
Published online: May 2024 

 
To cite this article:  
Tenange, E., Agazhie, T., Reta, M., & Çiftçi, H. G. Exploring the design motifs of Wollo Gabi in Ethiopian 
textiles and design development of women's fashion accessories. Discern: International Journal of Design 
for Social Change, Sustainable Innovation and Entrepreneurship, 5(1), 54-65. 
  



 

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Exploring the design motifs of Wollo Gabi in Ethiopian textiles and design 

development of women’s fashion accessories 
 
Tewodros Tenagnea, Temesgen Agazhiea, Michael Retaa, Hazal Gümüş Çiftçib 

 
aWollo University, Department of Fashion Design, Dessi, Ethiopia, tewodros.tenagne@wu.edu.et; 

temesgen.agazhie@wu.edu.et; michael.reta@wu.edu.et 
bArizona State University, The Design School, Tempe, Arizona, USA, hazal.gumus-ciftci@asu.edu 

 

Abstract 

Ethiopia, renowned for its rich tradition of craftsmanship, particularly in textiles, boasts a variety of regional 

styles and fabric types utilised in traditional and everyday attire. This study represented a collaborative 

effort between two universities, Arizona State University in the United States and Wollo University in 

Ethiopia, explicitly focusing on Wollo Gabi, an intricately patterned, gauze-like handwoven fabric of 

symbolic significance. Embarking on this endeavour were four design researchers who have explored Wollo 

Gabi's historical lineage, production techniques and contemporary applications. Subsequently, our 

endeavours evolved to encompass the conceptualisation and development of designs intending to 

demonstrate Gabi’s commercial potential in the US market. We employed a practice-based approach 

working with artisans to integrate diverse perspectives into the design process, fostering a more inclusive 

design process for product and brand development. 

 

Keywords: Social design, Traditional crafts, Textile design, Gabi textile, Ethiopia 

 

Introduction 

Ethiopia is prosperous in various traditional costumes, showcasing diversity of ethnicities. Gümüş Çiftçi and 

Walker (2021) write that traditional crafts, originating from societal needs and honed over generations, 

have faced a decline in the wake of technological and scientific progress. Additionally, the rapid evolution 

of contemporary clothing, furnishings and lifestyle tastes contributes to their disappearance, as craft 

products are often deemed outdated. As Du Bois (2008) claims, Ethiopia’s history is rich with crafts making 

and crafted objects, which are still prominent in daily use around the country. 

 

Within the many currently practised crafts in Ethiopia, weaving has a significant place. Traditional Ethiopian 

handweaving and embroidered fabrics represent one of the most essential cultural identities in the country 

(Adamu & Sitotaw, 2021). According to Puarungroj and Boonsirisumpun (2019), handwoven fabric pattern 

designs commonly represent the traditions and culture of local communities. The ethnic and cultural 

diversity of Ethiopia has given rise to many unique and dynamic visual traditions (Ergetew, 2018). Gabi, 

Netela, Kuta and Gemis are the critical pieces of traditional dresses worn throughout the country. This 

paper will discuss the Gabi (Image 1), a white cotton gauze-like wrap worn over other garments. Although 

this type of garment is accepted as indicative of Ethiopian ethnic dress in general, it is specifically 

associated with the people of the highlands, especially in northern Ethiopia (Itagaki, 2013). 

 

Gabi is woven by hand using looms that are mostly 70–90 cm wide so that both edges of the warp thread 

are within arm’s reach (Temesgen et al., 2018). With its intricate handwoven texture, Gabi has adorned 

Ethiopian wardrobes for centuries. Its 100% cotton composition makes it eco-friendly, aligning perfectly 

with the global shift toward sustainable fashion. 

 

mailto:tewodros.tenagne@wu.edu.et
mailto:temesgen.agazhie@wu.edu.et


 

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Image 1: Traditional Gabi fabric. Photo credit: Hazal Gümüş Çiftçi. 

 

In Ethiopia, there is a notable absence of scientific studies, comprehensive inventories and initiatives 

concerning the conservation of traditional crafts (e.g. Gabi production). Consequently, practice-based 

design research addresses pertinent research inquiries for this study, and this paper focuses on the initial 

design development of women’s fashion accessories using Gabi textiles. 

 

This initial investigation into the history and background of Wollo Gabi, how it is used traditionally and how 

it is developed within the contemporary Ethiopian fashion industry is a collaboration between Ethiopian 

and US-based designers to further explore the potential of this age-old, beautiful garment’s place in the US 

market primarily and in potentially different markets. Since there have not been many resources about any 

type of crafts, let alone Wollo Gabi, in Ethiopia, we had very limited resources for the literature review. 

Therefore, we employed practice-based design research, starting with focus group discussions with 

artisans, observations, inventory for the meanings of motifs, digitisation of motifs and interviews with 

designers who use Gabi in their designs, and we designed proposals for women’ accessories. 

 
Methodology 
The primary issue in craft and design projects lies in the lack of connection between designers, artisans and 

the surrounding community (Gümüş Çiftçi &Walker, 2021). With this practice-based design research, we 

explored Wollo Gabi motifs and investigated the design development of contemporary women’s 

accessories using Wollo Gabi fabric by focusing on its cultural significance and motifs. Data were collected 

through a focus group with local Wollo Gabi handloom artisans and through interviews with designer who 

use Gabi for their products, complemented by observational fieldwork. Purposive sampling guaranteed a 

wide variety of perspectives from knowledgeable individuals. Four main categories of Wollo Gabi motifs – 

Nigus, Monalisa, Mekes and Sindid – are of important social significance, and the authors of this paper have 

examined them through focus group discussions. We then collected information about contemporary 

fashion design companies in Ethiopia that specifically use Wollo Gabi in their designs. With this 

benchmarking, we realised that there is potential for Wollo Gabi to be used in women’s accessories.  



 

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With a practice-based design approach, we then digitised the Wollo Gabi motifs, created design proposals 

and manufactured the designs with artisans. This study will inform a series of co-design workshops, and 

these product samples along with the co-design workshops’ outcomes will be promoted in the US market. 

 

Our findings about the Wollo Gabi 

The Gabi is a large, heavy, white wrap used by both men and women in Ethiopia to protect themselves 

from the cold air during night-time and the chilly rainy season. Its dense cotton weave serves as an 

effective barrier against the chill. It is woven using traditional techniques that have been passed down 

through generations. The production of Gabi involves several intricate steps, from collecting cotton to the 

final product. Gabi is a general term for Ethiopian traditional fabric. However, in different regions, Gabi has 

unique and varied patterns and designs that deeply collaborate with the distinctive cultural practices and 

societal norms of each community’s culture and traditions. Regions such as Oromiya, Sidama, Welayta, 

Amhara, Siltie and Harary, have distinct fabric designs that express their cultural values (Adamu & Sitotaw, 

2021). For instance, the Wollo Gabi, named after the Wollo community, showcases specific motifs and 

patterns that represent the traditions and heritage of the Wollo community from the Amhara region in 

northeastern Ethiopia, which was once a centre of power and culture. 

 

The Gabi, a timeless symbol of Ethiopian cultural heritage, is more than just a large, heavy, white wrap.  

It is a woven tapestry of warmth, comfort and tradition passed down through generations and worn 

proudly by men and women across the country (Temesgen et al., 2018). The Gabi’s weight becomes  

a source of ‘grounding’. Each layer, meticulously woven from locally sourced cotton, speaks of patient 

hands and generations of knowledge passed down. It is a shield against the elements, a silent guardian 

against the bite of the night air. Wollo Gabi is distinguished by its complex patterns and colours, often 

blended with metallic yarns (Getachew, 2015). The Wollo Gabi is usually worn by men as a shawl on special 

occasions or used as a blanket in homes. The Wollo Gabi is also a source of pride and identity for the  

people of Wollo. 

 

The Wollo Gabi has different names for different designs, such as Sindid, Monalisa, Mekes and King. The 

Wollo Gabi is a form of artistic expression and communication for the weavers, called Shemane (Image 2), 

who use their skills and imagination to create these unique pieces. 

 

 
 



 

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Image 2. A weaver (Shemane) of the Ethiopian Gabi. Photo credit: Bobo Global, 2024. 

 

Whether draped casually over the shoulders or wrapped tightly around the body, the Gabi transcends its 

form to symbolise resilience and cultural pride. It is a silent testament to the Ethiopian people’s enduring 

spirit and ability to find warmth and solace despite adversity. In the traditional production of Gabi, the 

journey commences with women engaging in the initial stages of cotton processing within the confines of 

their homes. These women acquire unprocessed cotton from the local market and separate it from the 

seeds, employing a tool known as Mabazecha. Once this crucial step is completed, the cotton is primed to 

transform into thread, facilitated with specialised equipment called Inzirt (Image 3). 

 

 
 

Image 3. Inzirt. Photo credit: Hudson, 2023. 

 

The resulting threads are delicately wound onto small bamboo sticks featuring hollow stems called Kesem 

(Image 4). Subsequently, a collection of the Kesems is dispatched to a skilled weaver. The Shemane’s adept 

hands weave the threads into a fabric known as Shema. Intriguingly, the Shema crafted from threads 

produced through this intricate process serves as the material for crafting the distinctive Gabi garment. 

 



 

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Image 4. Kesem. Photo credit: Michael Reta. 

 

The art of weaving, deeply ingrained in the Ethiopian tradition, is the venerable craft behind creating many 

exquisite traditional garments. Carefully selecting threads, colours and patterns shapes the resulting 

fabric’s essence. This process unfolds under the diligent hands of a singular artisan, as weaving equipment 

is designed for operation by a single artisan. 

 

 
 

Image 5: Mewerweria. Photo credit: Michael Reta. 

 

The weaving apparatus comprises various components, each contributing to the construction of the fabric. 

One such element is the shuttle, known as Mewerweria (Image 5) in Amharic, which traverses from side to 

side, skilfully guiding the threads. Another pivotal part demands the alternating movement of upward and 

downward motions facilitated by the weaver’s foot. This dance of manual and foot-operated elements 

intertwines the threads, giving rise to the fabric in a manner that embodies Ethiopia’s rich weaving 

heritage. Notably, the traditional weaving process involves diverse setups of this equipment, each 



 

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contributing to the distinct characteristics of the final fabric. However, recognising the surge in demand for 

these culturally significant textiles, a more convenient iteration of the equipment is being introduced, 

blending tradition with contemporary efficiency. This evolution, in response to the growing popularity  

of Ethiopian fabrics, underscores the resilience and adaptability of the age-old art of weaving in the face  

of changing times. 

 

Wollo Gabi motif types and their interpretations 

Gabi serves the Wollo community for multiple purposes – from a traditional garment worn for warmth  

to a cultural identity and heritage symbol. Wollo traditional Gabi has unique motifs (tilet in Amharic) with 

different social meanings. One of the Wollo traditional Gabi motifs is the Nigus (Image 6). This pattern 

features a stylised ‘W’ symbol at the centre, resembling a crown and representing the historical leadership 

wisdom of the Wollo society. The choice of colours, including rose and blue, along with neutral tones, 

signifies the balanced leadership roles of both men and women in Wollo. 

 

 
 

Image 6. Nigus tilet. Photo credit: Tewodros Tenagne. 

 

The artisans who created this Gabi shared that the Nigus motif’s design aims to express the leadership 

qualities valued in Wollo. The contrasting colour of the ‘W’ symbol emphasises its regal significance. The 

combination of rose and blue represents qualities associated with all genders, creating a harmonious 

portrayal of leadership. In essence, the Wollo Gabi with the Nigus motif is not just a piece of fabric but a 

visual story reflecting the leadership philosophy and societal values of the Wollo community. Through its 

thoughtful design, this cultural piece invites us to explore the rich traditions of Ethiopia, specifically within 

the vibrant context of Wollo. 

 

The specific variant of the Wollo Gabi motif referred to as Mona Lisa (Image 7) derives its name from the 

artisans’ appreciation of its aesthetic appeal, drawing parallels to the renowned beauty of Mona Lisa. This 

terminology is employed to underscore the tilet’s inherent beauty, analogous to the way the name Mona 

Lisa symbolises attractiveness. In crafting the Mona Lisa motif, the artisans of Wollo Gabi purposefully 

endeavour to depict the elegance characteristic of women in Wollo society. This motif serves as a visual 

homage to the beauty of Wollo women, and, as such, it predominantly features a palette of light colours. 

The deliberate choice of soft hues, such as rose, complements the motif’s thematic focus on feminine 



 

61 

 

beauty. The Mona Lisa pattern uses light colours like rose, avoiding darker shades like blue. This choice 

aligns with the motif’s focus on capturing the graceful and delicate qualities associated with Wollo women. 

 

 
Image 7. Monaliza tilet. Photo credit: Tewodros Tenagne. 

 

A Wollo Gabi with the motif Mekes (Image 8) has a symbolic meaning. Known as the scissor motif, it gets  

its name from the unique form that resembles the letter ‘X’. This motif uses the craftsman’s illustration of 

cutting to illustrate the act of cutting figuratively. 

 

 
Image 8. Mekes tilet (Photo Credit: Tewodros Tenagne). 

 

According to the dictionary (EthioCloud, n.d.), Sindid is a phrase of great value in the language. It means 

‘beautiful and carefully organised’. The nomenclature of this specific theme has a tastefully straightforward 

history. The motif is called Sindid (Image 9) because its shapes line up carefully to create an aesthetically 

pleasing and well-organised pattern. Since Wollo Gabi’s artisans recognise and value the delicate 

craftsmanship in precisely arranging this design, they have appropriately named it Sindid. The design  

is a tribute to the artistry and craft that characterise the cultural depth ingrained in traditional Ethiopian 

textiles, particularly the Wollo Gabi. 

 



 

62 

 

 
Image 9. Sindid tilet. Photo credit: Tewodros Tenagne. 

 

Application of Gabi in the contemporary fashion industry 

Using the traditional Ethiopian handloom textile, Gabi has seen an emergence and evolution in the 

Ethiopian fashion industry: designers and brands, such as Chewa, Sewasew and Séralesti are increasingly 

incorporating Gabi into their products – not only as a tribute to Ethiopian heritage but also to infuse their 

designs with unique textures, patterns and cultural significance. Gabi’s adaptability allows it to be used for 

various clothing and accessories – from scarves, bags and hats to jackets, coats and dresses. Its eco-friendly 

and sustainable qualities also correspond with the rising demand for ethical fashion practices. 

 

 
 

Image 10. Chewa, Sewasew and Seralesti contemporary designs. Credit: Temesgen Agazhie. 

 

One well-known fashion brand in Ethiopia, Sewasew (Image 10), was created by the designer Sewasew 

Hailu, who started her journey in 2007, aiming to blend modernity and tradition in a more compatible way 

(Sewasew, 2022), creating a brand that embraces current trends while echoing Ethiopia’s rich cultural 

heritages and legacy. The brand produces jackets using Gabi’s textures and patterns, which tell a story of 

evolution and tradition. In addition to Sewasew, Ethiopian-based fashion brands, such as Séralesti by Bethel 

Tura and Chewa by Estifanos Minchegrot, share similar brand goals. They are connecting contemporary 

components with traditional ones to create elegant and sustainable pieces, such as modern hoodies and 

jackets made from Gabi fabric. Séralesti, as a brand, adds an artistic edge to its high-quality Gabi-made 

jumpers and jackets (Skadmas, 2024). Together, these brands have redefined the Ethiopian fashion 

industry, highlighting the grace and adaptability of the 100% cotton artificial Ethiopian traditional  

textile Gabi. 

  



 

63 

 

Our design propositions 
Culturally oriented products can create stronger user bonds (Razzaghi & Ramirez, 2005). Thackara (2005) 

endorses this concept by asserting, “Local context is significant not only as a marketplace but also  

as a catalyst for innovation” (p. 74). Integrating culture into products can be viewed as exceedingly 

advantageous and beneficial to the design discipline and product users for a plethora of reasons (Razzaghi 

& Ramirez, 2005). 

 

Our design research team in Ethiopia has laboriously created ten contemporary designs, five women’s bags, 

and five hats (Image 14), each crafted to honour the many cultural motifs in Wollo Gabi. We have ensured 

that every accessory resonates with authenticity and reverence for the culture it represents by carefully 

researching and paying close attention to detail. 

 

 
 
Image 11. Mood board for designing with Gabi. Photo credit: Tewodros Tenagne. 
 



 

64 

 

 
Image 12. Set of designs. 

 

Our design propositions are adorned with Sindid, Monaliza, Nigus and Mekes motifs. Out of the ten designs 

(Image 12), we produced four samples (Image 13). As wearers use these accessories, they will carry a piece 

of Ethiopia’s past into the present. Fashion becomes a canvas – a statement that transcends trends, 

weaving together heritage and innovation. 

 

 
 

Image 13. Sample products. Photo credit: Temesgen Agazhie. 

 

  



 

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Our insights and future studies 

Our primary objective initially aimed to establish an inventory and knowledge repository for Wollo Gabi and 

significant Gabi motifs, addressing a notable research gap. As we delved into understanding the Wollo Gabi, 

we have produced design propositions and manufactured samples for the US market. 

 

In the light of this study, a series of co-design workshops will be organised with the designers and the 

artisans working at each stage of Wollo Gabi production – from yarn making to hand-weaving to 

sewing/manufacturing the garments. Furthermore, by focusing exclusively on women crafters, these 

workshops will address gender disparities within the industry and promote female entrepreneurship. 

Subsequent workshops will focus on design entrepreneurship and global business development, equipping 

participants with the skills and knowledge needed to establish their enterprises and tap into international 

markets.  

 

References 
Adamu, B. F., & Sitotaw, D. B. (2021) Selected indigenous Ethiopian traditional weaving designs for beauty and 

diversity of Ethiopian people. Textile, 19(4), 386-392. https://doi.org/10.1080/14759756.2021.1922971 
EthioCloud. (n.d.). Amharic dictionary. https://tinyurl.com/5a8ahpxs 
Bobo Global. (2024). https://tinyurl.com/43x2vnbe 
Dubois, J. (2008). Roots and flowerings of Ethiopia’s traditional crafts. UNESCO. 
Ergetew, A. F. (2018). Handloom value chain analysis the case of Dorze Ethnic Group in Chencha, Gamo Gofa Zone, 

Ethiopia. European Journal of Business and Management, 10(22), 80–85. 
https://www.iiste.org/Journals/index.php/EJBM/article/view/43963/45295  

Getachew, H. (2015). Textile journey - Wollo. https://tinyurl.com/ykcesr3k 

Gümüş Çiftçi, H., & Walker, S. (2021). Design for social impact and crafts communities in Turkey. Design Culture(s), 

2020 Cumulus conference, Sapienza University, Rome, Italy. https://tinyurl.com/yneszhpd  
Hudson, T. (2023). Ethiopian spindles for cotton spinning. Eine Saite. https://tinyurl.com/hzrtmn4r 
Itagaki, J. (2013). Gender-based textile-weaving techniques of the Amhara in Northern Ethiopia.  

African Study Monographs, Suppl. 46, 27-52. https://tinyurl.com/4x2t5cez  
Puarungroj, W., & Boonsirisumpun, N. (2019). Recognizing hand-woven fabric pattern designs based on deep learning. 

In S. Bhatia, S. Tiwari, K. Mishra, & M. Trivedi (Eds.), Advances in computer communication and computational 
sciences (pp. 325-336). Springer. https://doi.org/10.1007/978-981-13-6861-5_28 

Razzaghi, M. & Ramirez, M. (2005). The influence of the designers’ own culture on the design aspects of products. 
EAD06 international conference of the European Academy of Design. 
https://doi.org/10.26190/unsworks/454  

Sewasew. (2022). About us. https://tinyurl.com/55nm36nd 
Skadmas. (2024). Séralesti handwoven fashion. https://tinyurl.com/sbncawz3 
Temesgen, A. G., Tursucular, O. F., Eren, R., & Ulcay, Y. (2018) The art of hand weaving textiles and crafting on socio-

cultural values in Ethiopian. International Journal of Advanced Multidisciplinary Research, 5(12), 59-67. 
Thackara, J. (2005). In the bubble: Designing for a complex world. MIT Press. 
United Nations. (2015). Sustainable development goals. United Nations. https://tinyurl.com/4c2crx5v  
Walker, S. (2014). Designing sustainability: Making radical changes in a material world. Routledge. 

 

 

https://doi.org/10.1080/14759756.2021.1922971
https://tinyurl.com/5a8ahpxs
https://tinyurl.com/43x2vnbe
https://www.iiste.org/Journals/index.php/EJBM/article/view/43963/45295
https://tinyurl.com/ykcesr3k
https://tinyurl.com/yneszhpd
https://tinyurl.com/hzrtmn4r
https://tinyurl.com/4x2t5cez
https://doi.org/10.1007/978-981-13-6861-5_28
https://doi.org/10.26190/unsworks/454
https://tinyurl.com/55nm36nd
https://tinyurl.com/sbncawz3
https://tinyurl.com/4c2crx5v

	Exploring the design motifs of Wollo Gabi in Ethiopian textiles and design development of women’s fashion accessories
	In Ethiopia, there is a notable absence of scientific studies, comprehensive inventories and initiatives concerning the conservation of traditional crafts (e.g. Gabi production). Consequently, practice-based design research addresses pertinent researc...
	This initial investigation into the history and background of Wollo Gabi, how it is used traditionally and how it is developed within the contemporary Ethiopian fashion industry is a collaboration between Ethiopian and US-based designers to further ex...
	The primary issue in craft and design projects lies in the lack of connection between designers, artisans and the surrounding community (Gümüş Çiftçi &Walker, 2021). With this practice-based design research, we explored Wollo Gabi motifs and investiga...
	The Gabi is a large, heavy, white wrap used by both men and women in Ethiopia to protect themselves from the cold air during night-time and the chilly rainy season. Its dense cotton weave serves as an effective barrier against the chill. It is woven u...
	The Gabi, a timeless symbol of Ethiopian cultural heritage, is more than just a large, heavy, white wrap.
	It is a woven tapestry of warmth, comfort and tradition passed down through generations and worn proudly by men and women across the country (Temesgen et al., 2018). The Gabi’s weight becomes
	a source of ‘grounding’. Each layer, meticulously woven from locally sourced cotton, speaks of patient hands and generations of knowledge passed down. It is a shield against the elements, a silent guardian against the bite of the night air. Wollo Gabi...
	people of Wollo.
	The Wollo Gabi has different names for different designs, such as Sindid, Monalisa, Mekes and King. The Wollo Gabi is a form of artistic expression and communication for the weavers, called Shemane (Image 2), who use their skills and imagination to cr...
	The weaving apparatus comprises various components, each contributing to the construction of the fabric. One such element is the shuttle, known as Mewerweria (Image 5) in Amharic, which traverses from side to side, skilfully guiding the threads. Anoth...
	Wollo Gabi motif types and their interpretations
	Gabi serves the Wollo community for multiple purposes – from a traditional garment worn for warmth  to a cultural identity and heritage symbol. Wollo traditional Gabi has unique motifs (tilet in Amharic) with different social meanings. One of the Woll...
	Culturally oriented products can create stronger user bonds (Razzaghi & Ramirez, 2005). Thackara (2005) endorses this concept by asserting, “Local context is significant not only as a marketplace but also  as a catalyst for innovation” (p. 74). Integr...
	Temesgen, A. G., Tursucular, O. F., Eren, R., & Ulcay, Y. (2018) The art of hand weaving textiles and crafting on socio-cultural values in Ethiopian. International Journal of Advanced Multidisciplinary Research, 5(12), 59-67.

