A warm blanket, a comforting cushion cover or a long-loved throw – generations have grown up surrounded by homemade treasures. What was once characterised as a mother’s favourite pastime, however, has slowly found its way into the hearts of a whole new demographic. A younger yet far more passionate generation.
According to Michaels’s March 2026 Creativity Trend Report, searches for “analogue hobbies” like knitting, crochet, journaling and painting have surged by 136 per cent over the past six months. Far from being confined to a passing trend or a traditional commodity, this interest is in fact embedded in a desire to slow down and reconnect with the handmade. “Younger generations have grown up in a world characterised by constant digital stimulation, rapid consumption and increasing psychological demands. As a result, there is a growing desire to engage in activities that are more tangible and deeply human,” explains art psychotherapist and trauma specialist Najah Musthafa, who is also the CEO and co-founder of Middle East and North Africa Trauma Alliance (Menata). “Crochet offers something many aspects of modern life do not – to create rather than consume.”
Proving Musthafa’s expert perspective, this desire to slow down and reconnect has become evident across the region with young entrepreneurs and content creators openly adopting the art form. “A while ago, my cousin was in a startup incubator and he noticed that teenage girls who wanted to launch businesses were crocheting. They were competing with each other in the market even though there was no significant demand for it at the time,” recalls Mohsen El Ashry, co-founder of El Ashry Studios and Let’s Shade Aswan campaign. The multi-hyphenate artist was quick to connect the dots. “The sun is extremely strong in Aswan with relatively no shade. Nubian homes are single storey on average and the streets are completely exposed, so people can't walk during the day. And just like that, Let’s Shade Aswan was born. We wanted to create large canopies to shade the streets through people who were already good at crocheting.”
What seemed like a far-reaching idea quickly came to fruition. The initiative, which brings together women of all ages, has already installed its first canopy, covering an eight-metre-wide and 40-metre-long street in Heissa Island, with three more canopies in process. But beyond creating shade, El Ashry is proud of how the programme has brought the community together. “Crochet is native to Aswan. We knew that we would be able to provide work opportunities for those who truly needed them. Women in Nubia usually work in tourism during winter, but after the season ends, they don’t have opportunities. We believed that they could fulfil the orders for the shades. And just as anticipated, they ended up making canopies and earning an income.” While the financial aspect speaks to Let’s Shade Aswan’s tangible impact, its beauty lies in communal creation. Rooted in participation, connection and shared purpose, it not only engaged locals but also opened the door to a wider group of volunteers and crochet enthusiasts through its organised “Granny Gatherings”. “Community crochet combines two powerful protective factors – creative expression and belonging, ”says Musthafa. People often find conversations easier when their hands are occupied. This fosters an environment where authentic dialogue emerges more naturally.”
A seasoned crocheter himself, El Ashry grew up watching his grandmother crochet, and the activity seeped into his daily routine. Today, he often does it in public, quietly challenging the idea that needlework belongs only to women. “It’s therapeutic. I want to encourage more men to do it. It can benefit them to be present with a craft – even for 30 minutes a day – and reconnect with themselves.” This meditative effect, Musthafa explains, lies in how it engages the mind without overwhelming it. “Crochet supports attentional regulation. It occupies ‘just enough’ of the brain to interrupt cycles of rumination without being overwhelming. This gentle level of sustained attention can benefit people with stress or anxiety.” While this craft continues to be the highlight of El Ashry’s efforts, the community has grown to include other creative mediums native to his home like weaving with palm leaves.
Looking ahead, El Ashry hopes to push the art form’s potential further. “Our first goal is to shade at least five streets with crochet canopies. We also want to plant 1,000 trees and revive authentic Nubian art by restoring traditional designs on local homes. Our long-term ambitions are to deal with the infrastructure and environmental challenges West Aswan faces, like installing proper sewage systems, improving access to Heissa Island through a safer crossing and introducing a waste management system.” The artist adds with pride, “We are using crochet to solve an actual problem, but it also paves the way for us to resolve bigger issues.”
While El Ashry has found a powerful tool in granny squares, more than a thousand miles away, Soof Studio’s Shamma Almarzooqi has also discovered an ally in the craft. The textile artist specialises in delivering vivid depictions of national pride, ancestral traditions and deeply rooted legacy. “Textiles have always carried stories and crochet is no different. Through colours, textures and patterns, it can become a powerful way to express identity, memory and cultural heritage,” she says. “It’s also a very personal medium. Some of my projects were created during moments of immense joy, while others emerged from periods of uncertainty or reflection. Textile work allows emotions and experiences to be translated into something physical, making it a meaningful way to preserve personal and collective stories.” Musthafa’s perspective reinforces this idea: “From an art psychotherapy perspective, creative processes offer a non-verbal pathway into emotional expression. Working with our hands allows thoughts, feelings and internal states to be processed in ways that are difficult to access through conversations alone.”
It is precisely this ability that is shaping Almarzooqi’s latest project. Through it, she aims to explore a complex experience that is both deeply personal and widely felt across the region. “I'm currently developing a body of textile work inspired by the emotions that emerged during the recent political events in the GCC region. The project reflects on uncertainty and how people continue to move forward despite not knowing what comes next. Through material, texture and handwork, I'm exploring the tension between worry and resilience and the idea that life continues even in trying times.”
Crochet’s current renaissance has highlighted the growing need for the handmade, and this same appreciation has also found its way into fashion with brands like Egypt-based NA Studio. “Before we had a brand, we had a community of incredibly talented Egyptian women artisans. We sampled and developed pieces with them and our label was born spontaneously from the collaborations,” explains co-founder and creative director Noran Ageel. “Crochet feels deeply personal because it represents the foundation of our work. Every garment carries the hand of its maker, making it inherently limited.” The label’s spring/summer 2026 collection is a testament to that notion. But for Ageel, the appeal goes beyond aesthetics. “What we are witnessing is not the rise of the craft, but of slow and intentional fashion. It resists speed and scale and that, to us, is its magic. The greatest psychological benefit is that it creates the conditions that support regulation, attention, creativity and a renewed sense of connection with ourselves, others and the present moment.”
From providing shade to preserving cultural stories and giving fashion a more intentional rhythm, crochet is far from a mere pastime. Rather than remaining unchanged, it has re-emerged as a grounding practice. “It allows you to step away from the noise and enter a different world. When you are focused on stitches, patterns and colour combinations, your attention shifts entirely to the current moment,” concludes Almarzooqi.
This article originally appeared in the September 2026 issue of Vogue Arabia
