Filizzade Abayas
Filizzade’s abayas appear in Modanisa’s catalogue. These selected designs show how colour, decoration and garment outline work together.
Modanisa product information and photographs, reviewed 29 October 2026.
Broad areas of colour
Vertical colour in three arrangements
The navy-and-tan Sash Abaya, item 8161522, places two long colour fields beside each other. Navy bars cross the tan sleeve, bringing the darker colour back into the lighter side. Modanisa explicitly lists a belt with this garment. In the navy-and-cream open design, 9338766, the pale area occupies one side and returns at the opposite cuff; its sash is also a stated inclusion.
The three-colour version, 8263312, changes the proportions again. Black occupies the centre, brown lies farther out and white forms broad areas towards the sides. The photographs with arms extended reveal the width of those outer sections. These arrangements deserve separate attention within the same colour-block idea: a belted centre, a long open front and broad side panels give the vertical colours different outlines.
A contrasting side: 8994962 and 1547072
The stone-coloured abaya, 8994962, uses a large pale contrast on one side instead of dividing the front into equal halves. A broad uninterrupted area remains beside it, so the off-centre boundary becomes a main feature. The photographed outer edge falls into a long fold below the arm. The shape of that fold makes the light section visible at more than one angle.
Item 1547072 develops a related arrangement in ecru and green. Modanisa’s description identifies contrasting panels, and the images show why their position matters: a broad pale area runs down one side, with green returning around its outer edge. Follow the boundary from the shoulder towards the lower edge. Its uneven route gives this broad garment a different appearance from a regular sequence of equally sized stripes.
Horizontal blocks: 7932600
Item 7932600 is titled as a black abaya, but its photographs show a much fuller colour arrangement. A pale upper area meets a wide blue section, followed by a deep black area below. Dark side sections frame those lighter colours. The large changes run across the body, while the sides maintain a longer downward line. Both directions belong to the photographed design.
The closer view shows a gently curved meeting point between the pale upper area and blue, rather than a rigid rectangular grid. At the sleeves, pale and dark sections continue that broad contrast without adding small motifs. When the arms are held away from the body, the lateral width becomes clearer. The principal feature is this distribution of large colour areas across a generous outline, with very little fine decoration competing for attention.
Patterns across the body
Large blue shapes: 9000167
The Geometric Abaya in Midnight Blue, item 9000167, spreads blue and pale angular forms across the body and sleeves. Triangles, narrow wedges and larger irregular shapes sit beside one another without forming a small regular check. Some pale lines appear wide enough to separate the blue areas clearly; elsewhere the blue shapes gather more closely. The pattern remains prominent through most of the photographed length.
A closer view reveals how the shapes change direction around the upper front. There is no large plain chest panel acting as a pause before the pattern begins. In the full view, folds interrupt individual shapes while the same blue-and-pale contrast continues across them. The pictured plain scarf provides an uninterrupted area near the face, letting the larger geometric field remain the main patterned part of the outfit.
Fine black-and-white marks: 9000160
The black Patterned Abaya, 9000160, uses much smaller, more curving marks. The close photograph shows narrow pale and dark lines bending around one another, with occasional broader patches breaking up the dense surface. Modanisa describes a black-and-white pattern. Its visual character comes from the fine, irregular drawing across the garment, rather than a handful of large motifs spaced on a plain ground.
The sleeve ends continue that pattern, so they do not create a separate contrasting band. Nor does the photographed neckline introduce a broad decorative border. From farther away, the repeated marks gather into a busy overall surface; closer inspection separates the little curves and dark intervals again. This design asks you to consider the whole patterned field, including the sleeves, because there is no single isolated ornament that explains the complete appearance.
Ruffles and the outer outline
Ruffled edges: 8678333 and 1708081
The green Polka Dot Abaya, 8678333, combines a small self-coloured dot pattern with ruffles around the lower edge and sleeve areas. Modanisa identifies both features in its description. The photographs show a broad body that hangs in long folds, with the ruffled edge adding a much smaller repeated outline. The dots and ruffles therefore work at different scales: one covers the surface, while the other follows its boundary.
The beige Ruffle Summer Abaya, 1708081, presents a related outline on a plainer-looking surface. Its short description also places ruffles at the hem and sleeves. Looking across the two presentations makes the difference specific. The green adds small marks inside the outline; the beige leaves more of the visual interest to the folds and rippling edge. Neither needs a contrasting border to make that edge noticeable.
Ruffles along the arms: 9000180
The Stone Color Abaya, item 9000180, moves the ruffles higher. They begin near the shoulders and continue along the upper arms, creating two uneven lines beside a largely plain front. The close photograph shows the individual folds standing out from the smoother surrounding cloth. Their colour stays close to the body, so the detail is carried by shape and shadow rather than a sharp colour change.
Below those lines, the body opens into broad hanging areas at the sides. The sleeve ends themselves are comparatively simple, which helps separate the ruffled shoulder route from the rest of the arm. With the hands brought together, much of the central front remains uninterrupted. This placement gives the upper outline its character while leaving the lower garment quieter; the ruffles do not need to travel down the entire front.
Repeated ruffle tiers: 8201011
The camel Ruffle Detail Abaya, 8201011, uses a straighter photographed body with several narrow frilled rows near the lower skirt. Modanisa identifies three tiers at the skirt and cuffs. The close view shows small folded peaks around the wrists, while the full view reveals the broader horizontal repetition below. A plain interval remains beneath the skirt ruffles, so the frills do not form the final hem itself.
A waist tie appears in the photographed outfit, above the long plain area leading to those lower rows. The front has a short opening near the neck, and the upper sleeves are much less decorated than their ends. That division gives the ruffles two clear positions: close to the hands and near the bottom of the garment. Their repeated horizontal form connects those areas without covering the intervening body.
Decoration running down the front
Long lines on black: 9472053 and 9472054
Items 9472053 and 9472054 place narrow shiny lines down one side of a black front. In the golden presentation, several close parallel trails descend from the shoulder for most of the photographed length. Dark space remains between the small bright marks, so the result is more broken and textured than one solid gold panel. The other side of the body remains a much larger plain field.
The darker presentation keeps the same long vertical emphasis with less pronounced colour contrast. Both photographs give the sleeves and surrounding body considerably more space than the decorated strip occupies. This is why the position matters: the ornament does not divide the garment centrally, and it does not stop after a small chest accent. It creates an off-centre line that can be followed through the full-length view.
Central detail: 8810760 and 8263321
The Navy Blue Abaya, 8810760, places a broad silver-looking strip through the centre of a dark body. Its photographs give that strip a continuous, strongly defined presence, while the surrounding navy falls into long, wider folds. Modanisa’s description identifies shimmering front detail. The contrast is both a change in surface and a difference in proportion: a concentrated bright centre sits inside a much larger dark outline.
Item 8263321 uses a narrower, vine-like arrangement in the same central position. The listing describes gold-coloured embroidery, and the close view shows curling pale-gold forms with dark spaces between them. Broad navy sides remain visible around that decoration. Consider the amount of uninterrupted shine when comparing the two: one presents a wider bright column, while the other draws separate curling shapes along the centre.
Bright borders beside a zip: 8683556
The burgundy Sequin Striped Abaya, 8683556, has two bright red bands flanking a visible central zip. Modanisa identifies sequined stripes, and the closer photograph shows small overlapping-looking reflective pieces building the wider bands. The dark fastening line remains visible between them. Around each wrist, a shorter bright strip repeats the treatment without taking over the entire sleeve end.
The photographed body is comparatively straight, with plain burgundy sleeves and side areas around the central decoration. Because the two bands follow the opening, the strongest bright feature belongs to the middle of the garment. The cuff strips add a brief horizontal version of that shine farther out. Looking at those separate lengths helps explain the arrangement: a long paired centre and two compact wrist accents, with dark cloth left between them.
Detail around the cuffs
Horizontal bands: 9463742 and 9463745
The black abaya, 9463742, and brown version, 9463745, concentrate decoration into several horizontal bands near the sleeve ends. Their long fronts remain comparatively plain. The bands interrupt each sleeve across its width, creating a short repeated pattern near the hands. Modanisa lists both garments as unlined, with polyester and Lycra in their material information; those written details belong to the named listings.
The photographs make the spacing of the bands especially useful to compare. Darker intervals remain visible between the brighter lines, rather than the whole cuff becoming one uninterrupted shiny block. Against the brown body, the trim has a different colour relationship from the black presentation, even though the repeated direction is similar. The restrained upper front leaves these low decorative areas easy to locate within the overall garment.
A square network: 9447291 and 9472057
Item 9447291 combines a black body with gold-toned decoration at the lower sleeves. Its description specifically identifies square-patterned sequins and braid. The close photographs show connected lines forming a network around the cuffs, with dark spaces inside the shapes. The ornament is therefore legible as a pattern, rather than only as a general bright area at the end of each arm.
The brown presentation, 9472057, places a related lattice treatment against a warmer ground. Its largely plain upper body keeps the emphasis low. The openings within the drawn network and the thickness of its lines are useful details to notice: they determine how much of the underlying dark surface remains visible. The photographed cuff is broad enough to carry several repeated shapes, while the long body provides a quieter area above them.
Fringe at the sleeve ends: 9463726
The camel abaya, 9463726, gives the lower sleeves a textured ornamental band with short hanging ends beneath it. The close view separates the denser upper decoration from the finer fringe that extends below. The two parts create different edges: a more continuous decorated area around the arm and a loose, uneven line nearest the hand. The main body remains comparatively plain.
A related black-and-gold presentation, 9463724, makes the contrast more pronounced, while the cream version, 9463728, places the same general cuff idea against a lighter body. These colour changes alter how clearly the hanging ends stand apart from the cloth behind them. Their placement stays the defining feature. The decoration is concentrated at the sleeve boundary, where its irregular outline can be seen separately from the broader drape of the garment.
Broken diagonal marks: 9003825
The Black Abaya, 9003825, keeps its neckline and long central body largely undecorated. Bright marks gather around the broad sleeve ends, where several oblique strokes create a broken diagonal pattern. Modanisa’s description calls attention to shimmering sleeve details, and the closer photograph makes their irregular spacing visible. Some strokes extend farther than others, leaving dark intervals between the bright areas.
The full-length image gives those cuffs their proportion within the outfit. They occupy two compact areas beside a much longer black body, rather than spreading the pattern up the arms or across the chest. The wide sleeve ends also let the angled marks be seen across a relatively broad surface. A plain upper scarf, as photographed, leaves the garment’s decorative emphasis near the hands, preserving the contrast between quiet upper areas and brighter lower sleeves.
Decoration in several positions
Gold-toned scrolls on navy: 9463737
The navy abaya, 9463737, combines a visible central zip with gold-toned scrolling ornament at the cuffs and two lower-front areas. The decorative shapes curve and branch, bringing a more rounded drawing into an otherwise long, straight arrangement. The central fastening stays comparatively narrow. Most of the upper chest remains plain, allowing the lower decoration to occupy distinct areas on either side.
At the wrists, the repeated ornament forms bands around the sleeve ends. On the front, it appears in shorter placements near the hips. That change in position is more informative than the colour combination alone: the design connects the hands with the lower body while leaving a large navy interval above. The photographs show the paired front placements clearly, but their appearance is the supported detail here; they do not by themselves describe the full pocket construction.
Stripes near the hips: 9463733 and 9463738
The black item 9463733 and beige item 9463738 repeat narrow decorative stripes at the lower front and wrists. Around the cuffs, the stripes travel horizontally. At the paired front patches, they stand upright, so the same simple mark takes two directions within one garment. A central zip forms a separate long line between the lower placements. The upper front remains much less decorated.
The beige photographs make the upright striped patches easy to distinguish from the surrounding body. In the darker presentations, the shiny stripes become more prominent than their backing. This is a useful comparison within the family: the visible arrangement includes both a patch-shaped area and the marks upon it. The change of ground colour affects which part is noticed first, while the repeated upright and horizontal directions continue to connect the front and sleeves.
Hanging detail above the sleeves: 9472058
Items 9472058, 9472059 and 9472062 give the upper outline a decorative treatment while leaving much of the long black body plain. Their photographs show different hanging forms near the shoulder and sleeve area: larger rounded pieces in one presentation, leaf-like golden shapes in another and longer fine golden strands in the third. Those differences are visible in the actual ornament, not simply in its colour.
The upper placement makes each treatment noticeable before the eye reaches the lower body. The hanging ends create an uneven boundary against broad dark cloth, while the garment beneath them continues into a comparatively uninterrupted front. The closer images are especially helpful for separating the shapes; in the full view, they gather into a brighter band near the arms. Keep both scales in mind when considering which of these related presentations appeals to you.
Small pale clusters: 437819
The salmon Pearl Detailed Abaya, 437819, distributes small pale clusters across the upper front and near the shoulders. Modanisa identifies pearl details; the photographs show separate little flower-like groupings with broad plain intervals around them. The decoration does not form one continuous collar. It spreads across a shallow upper area, while most of the long pink body remains free of these bright points.
The close view makes the clustered arrangement clearer than the full-length photograph, where the individual groups become much smaller accents. The broad outer shape hangs in deep folds at the sides, giving the garment another feature that is independent of the small upper decorations. The pictured pale scarf sits beside those clusters without adding a separate pattern. Their limited distribution leaves the lower surface quiet and makes each little grouping easier to distinguish.
For a wider comparison across labels, our Modanisa abaya design guide follows other selected garments and their particular features.
Questions about wearing a design extend beyond its appearance. Our guide to practical details in modern abayas considers sleeves, fastenings and movement when assessing a garment for your own wardrobe.