Palestine’s powerful moment at Miss Grand International 2025
In a striking fusion of fashion, culture, and message, Miss Grand Palestine Yara Bishi arrived on the Miss Grand International stage wearing a national costume that doubled as a call for peace, resilience, and national identity. Dubbed the Dove of Peace, the ensemble was crafted as a living narrative, weaving Palestinian craft traditions with bold, contemporary symbolism to convey a voice that resonates beyond beauty pageantry.
The design was conceived by Palestinian designers Lauren Imseeh and Edmon Imseeh, in collaboration with master tailor Hisham Anabtawi. From its white base to its final flourishes, the costume told a story: peace long sought, roots deeply planted, and a future carried with dignity. Yara herself described the base color as more than a hue; she framed it as a beacon of the peace Palestinians have yearned for, yet that remains elusive in everyday life.
The visual language: tatreez, symbolism, and craft
The Dove of Peace centers an intricate display of tatreez — Palestinian embroidery revered for its regional motifs and historical resonance. The designers drew patterns collected from multiple Palestinian cities, ensuring the embroidery carried a composite voice of the entire nation. This traditional textile technique grounds the costume in cultural memory while allowing a modern silhouette to emerge on the international stage.
At the heart of the outfit sits a 3D-printed pigeon, a universal emblem of peace, resilience, and perseverance. The pigeon is presented alongside black olive branches, which carry a dual narrative: they symbolize both the land’s rootedness and the weight of current grief. The olive branch has long been a symbol of hope in the region, and in this ensemble it reinforces the message that endurance and peace remain linked to the land’s identity.
Cape, message, and local production
The long cape completing the ensemble is more than a dramatic finish; it acts as a banner of strength and dignity. Across its surface runs the stark, poignant inscription: Pray for peace. This line anchors the costume’s storytelling, turning fashion into advocacy and art into conversation. Yara emphasized that every element of the dress was designed and produced locally in Palestine, underscoring a broader mission: to present a voice of identity, resilience, and hope carried by a people shaping their future through creativity and craft.
Impact and reception
By integrating traditional embroidery with contemporary design and a strong political message, the Dove of Peace national costume achieved more than visual impact. It framed Palestine not solely in terms of conflict but as a culture rich with craftsmanship, history, and a living, evolving art scene. The costume’s narrative invites viewers to reflect on the complexities of peace and the daily realities behind the headlines, offering a respectful and hopeful perspective on Palestinian identity within a global platform.
Context alongside other contestants
While Yara Bishi embodied Palestine’s message through the Dove of Peace, other contestants brought their own national stories to the stage. Notably, the Philippines was represented by Emma Tiglao, who drew inspiration from the Kapampangan moon goddess Mayari. This contrast highlights how Miss Grand International serves as a stage for diverse cultures to interpret universal themes such as peace, beauty, and heritage through distinctly local lenses.
As the competition continues, Yara Bishi’s national costume stands as a landmark example of how fashion can honor tradition while advocating for a brighter future. It is a reminder that style, when infused with meaning, can become a powerful instrument for dialogue, resilience, and hope across borders.
