Amsons Abaya Designs

This guide examines the current abaya catalogue of Amsons at amsons.co.uk, whose listed branches include Birmingham.

Descriptions and photographs: Amsons, reviewed 29 October 2026.

Embroidery around necklines and cuffs

Sumayya 939: curving paisleys

Sumayya’s navy design places curling paisleys around a short row of dark buttons. Leaves follow the curved outlines, while small flowers occupy the spaces between them. Narrow decorated lines descend from the shoulder area towards this central arrangement. Below the button row, the pattern narrows into smaller motifs, giving the upper front a shaped ending rather than a straight horizontal border.

The wide sleeve ends repeat the rounded paisley drawing. Their outlines remain easy to distinguish because dark fabric separates the larger forms, even where smaller leaves fill their edges. Much of the lower body is plain, so these two embroidered areas carry the decoration. Amsons lists a blend of 65% polyester and 35% viscose for this model, alongside its floral and paisley embroidery.

Yusra 1117: stacked geometric detail

Yusra’s Cool Grey version organises its decoration into a broad vertical chest panel. Small cross-like and diamond forms sit between finer upright lines. Towards the bottom, striped angular bands narrow into a point, with little pendant-shaped motifs beneath them. The panel has several scales of detail: a large outlined shape, repeated geometric units and much finer marks inside the borders.

Wide cuff panels turn the geometry horizontally. A row of linked shapes runs across each sleeve, framed by narrow repeated lines, while a short fringe finishes the edge below a plain band. The grey lower body has no competing large motif in the photographed front. The catalogue identifies geometric embroidery and a 65% polyester, 35% viscose blend, with the fringed sleeves forming a separate finish.

Black 1107: a densely filled chest panel

The black satin design numbered 1107 has a gold-toned chest arrangement filled with small flowers, curling outlines and closely repeated units. An inner U-shaped border surrounds the upper opening, while the larger outer shape finishes in a deep point. Small pendant-shaped embroidered motifs follow its lower edge.

At the wrists, narrow decorated bands frame the sleeve edges. Separate floral sprigs rise above those bands, leaving black space between the cuff decoration and the shoulder. The chest is therefore much more densely worked than the sleeve surface. Its many small units stay contained within a firm outer border, making the pointed panel the clearest feature of the full-length front photograph.

Dark Sage 1013: pointed sleeve medallions

The model displayed as Dark Sage 1013 concentrates its embroidery on the lower sleeves. Tall pointed outlines contain smaller floral shapes and filled centres. Lower arches run closer to the cuff edge, so the decoration has a clear upper and lower structure rather than an even scatter across the arm. The broad sleeve openings give these upright motifs room to remain individually visible.

A short, narrow opening at the neck has a tonal edge. The front below it is plain, keeping the sleeve drawing separate from the rest of the garment. The cuff photograph brings together pointed tops, little flowers and low arches. Amsons describes the fabric as a cotton and viscose mix; the visual emphasis is on those outlined embroidered forms.

Noor 1165: pale vines and long side borders

Noor sets pale floral vines against black fabric. A large chest arrangement spreads across the shoulders before narrowing into a downward point, with a small trailing ornament below. The flowers vary in size, and curling stems connect them into a continuous drawing. Narrow related borders curve towards the upper arms, linking the central decoration with the garment’s outer areas.

Long floral lines descend at the sides, interrupted by larger separate sprigs. Dense flowers also fill the cuffs. The back view shows a plainer expanse below the scarf. Another view exposes the round neckline and its small floral trim without a scarf covering it. The product description identifies viscose and floral embroidery, while the photographs reveal how that decoration is distributed.

Teal Green 1201: branching gold-toned flowers

The velvet design numbered 1201 uses a narrow neck surround as the starting point for its embroidery. Gold-toned branches extend outwards from either side, carrying small leaves and flowers. Below the short opening, they meet in a tapering cluster. There is open teal space between the stems, so the arrangement remains a branching drawing rather than becoming a densely filled rectangular panel.

Related clusters sit above slim decorated cuff borders. Their pointed upper ends echo the narrowing shape below the neckline, bringing the two areas into the same composition. The photographed velvet shows lighter and darker patches along the folds, adding variation to the otherwise undecorated lower body. The design’s strongest contrast comes from the fine gold-toned lines against that deep teal field.

Pattern across the garment

Mosaic 1082: tonal texture and flowered sleeves

The red Mosaic design combines two kinds of pattern. An irregular cell-like texture covers the main body, staying close to the red ground in colour. Contrasting flower stems spread across the sleeves, where their leaves and blossoms are much easier to pick out individually. The body pattern supplies a continuous surface, while the floral drawing introduces larger, more distinct shapes at the sides.

Two long neckline cords end in tassels and fall over the upper front. A matching waist tie crosses beneath them, adding a horizontal line to their vertical descent. The sleeve edges have a narrow, fine fringe-like finish. Amsons identifies polyester, embroidered sleeves and a tasselled neckline for this model. Long views set the small body pattern beside the larger sleeve flowers.

Textured Floral 1174: navy botanical outlines

Textured Floral 1174 keeps its botanical pattern within a single navy colour family. In the close photograph, branching stems, pointed leaves and flower outlines emerge through changes in the surface rather than a contrasting thread colour. The pattern extends across the chest and sleeves, with no large separate ornamental panel interrupting it.

Plain narrow sleeve hems leave the floral surface as the main detail at the wrists. Front, side and rear views show it continuing over the long body, whose outline gradually broadens towards the hem. The closer image makes the individual flowers clearer, while the longer views show the consistency of the patterned field. Listed as polyester, this design draws its character from the repeated tonal outlines and their distribution across the whole visible garment.

Anisa 1111: small print and a lower tier

Anisa’s Black and Green design spreads a small botanical repeat over the body and broad sleeves. Wavy embroidered bands frame the short neckline, providing a larger pattern beside the finer printed marks. A similar band follows each sleeve end, where its zigzagging course is easy to separate from the busy background.

The skirt gathers at the waist and again above a wide lower tier. That horizontal seam changes the outline near the hem, while the little botanical marks continue into the added section. In the seated photograph, the spread of the lower fabric makes both the tier and the uninterrupted repeat visible. Amsons describes chiffon with a printed design and an embroidered neckline, while the sleeve bands and lower tier organise the patterned surface.

Alina 1039: pale buds over maroon

Alina’s close fabric photograph shows pale buds and small blossoms on green stems. Some form tiny individual sprigs; others gather into little bunches with several flowers. Maroon space separates these clusters, allowing their branching shapes to remain distinct. The pattern continues across the upper body, sleeves and skirt rather than collecting at the hem.

Green neck cords pick up the colour of the printed stems and finish in long tassels. A narrow matching belt marks the waist. At the wrists, the sleeves gather into a slim edge, giving the lower arm a different outline from the broad skirt beneath the belt. The catalogue calls this a floral crepe design. Its specific combination is the scattered flower drawing, contrasting tassels and gathered sleeve ends.

Jamila 920: a fine pale repeat

Jamila’s Pink version uses a fine pattern of pale marks. At the scale of the full-length photographs, they give the fabric a closely speckled appearance. The closer view still shows many small separate marks across the bodice and sleeves. Amsons describes the pattern as floral and the fabric as crepe.

A straight central front line runs down through the matching waist belt towards the hem. The belt is broad enough to create a clear horizontal division without introducing another colour or motif. Sleeve ends remain straight and plain, continuing the fine repeat to the wrist. The side photograph shows a wide lower skirt, with the small pattern maintained across its spread. The catalogue also identifies a collared neckline, partly covered by the photographed scarf.

Floral Weave 653: fine botanical lines

The design displayed as Floral Weave Black Gold 653 carries fine botanical outlines across a dark ground. Long narrow leaves extend from curved stems, with smaller clustered forms between them. The gold-toned lines are restrained in contrast, so the complete pattern is easier to follow in the closer view than at a distance.

A belt made from the same patterned material ties at the waist. The botanical drawing continues along the sleeves and back. Straight sleeve ends and a narrow central front line give the garment simple boundaries around the continuous pattern. The interest lies in the length and direction of the thin leaves: several extend diagonally across the fabric, giving the surface a less regular rhythm than a grid or evenly spaced floral scatter.

Small accents and larger arrangements

Plum 6206: sequins at different densities

The plum design numbered 6206 uses small gold-toned flower clusters across the front, with clear spaces between them. Tiny reflective dots appear more widely over the sleeves. Near the wrists, those scattered marks give way to a much denser decorated band, creating a noticeable change in concentration within the same colour scheme.

A slim matching tie crosses the waist, while long decorated bands descend along the sides of the skirt. These upright lines frame the more sparsely ornamented centre. The cuff photograph shows small round reflective discs among the floral detail, connecting the sequin description with a visible feature. Amsons lists polyester and a waist tie for the model. Its decoration works at three different scales: little front clusters, broad cuff bands and long side strips.

Safiya 1157: a different arrangement at the back

Safiya’s Olive version has small blue-and-gold-toned sprigs spaced across the front bodice. Larger floral forms run along the sleeves, ending above a narrow blue edge and fine fringe. Below the bodice, fabric gathers into a waist seam and expands into a plain skirt. This gives the upper motifs a defined area.

The back view shows one large central ornament above the waist, surrounded by smaller sprigs. It is much more concentrated than the scattered decoration on the front. That back motif, the larger sleeve flowers and the tiny bodice marks create three distinct scales within the same design. Amsons describes viscose, an embroidered upper section and a gathered skirt, with the photographs supplying the specific front-to-back comparison.

Bushra 6160: dark beadwork on navy

Bushra places a narrow beaded strip on the upper front of its navy design. Broader ornament covers the lower sleeves, rising into pointed shapes above the cuffs. Because the decoration stays dark against the navy ground, its outline and density carry more of the effect than a strong colour change.

The matching belt crosses below the front strip, leaving the lower skirt comparatively unadorned. At the hem, a narrow translucent outer edge extends below an opaque-looking layer behind it. Amsons identifies chiffon and beadwork at the front and sleeves, and expressly includes the matching belt. The compact vertical chest detail and wider cuff arrangements give the design two different areas of emphasis without spreading embellishment evenly across the body.

Detailed Neck 520023: radiating neckline accents

The ivory design numbered 520023 has small bead-like details radiating from its round neckline. Their short descending lines form a close border around the upper edge. Beneath them, a long central fastening strip has a more reflective appearance than the broad plain panels beside it. A small pull is visible near the top of that strip in the close photograph.

Wide sleeves finish in gently curved plain edges. The side view shows the unpatterned outer panel and its translucent lower edge. The catalogue title includes Silk Chiffon Zipped; the visible composition brings together a decorated neckline, a strongly defined central line and large uninterrupted areas of ivory. The shortest details sit at the neck, while the front strip extends almost the full length of the garment.

Pearl Constellation 520369: separated vertical trails

Pearl Constellation’s Mink version spaces small upright trails across the front and sleeves. Each combines pale round accents with a thin dark line that bends or zigzags beside them. The separate groups leave broad plain areas between their outlines.

The photographs show the garment both with and without its matching waist belt. In the belted views, the trails continue above and below the horizontal tie. The unbelted front view reveals their placement along the full body without that division. A V-shaped neckline and plain narrow sleeve hems keep the edges simple. The model’s name supplies its pearl reference; visually, the defining detail is the repeated pairing of bright rounded points and fine winding lines, arranged in short vertical groups.

Collars, lacing and waist details

Classic 1073: fine lines and a short button row

Classic 1073 has a narrow standing collar above a short central row of dark, covered-looking buttons. Fine parallel lines descend over the upper front on either side, bringing detail to an otherwise plain black surface. A broad matching tie crosses the waist below them and introduces a clear horizontal element.

The sleeves gather above long cuffs, where three visible buttons repeat the small rounded shapes on the chest. A photograph with the scarf removed from the neckline makes the collar, button row and fine upper-front lines clear. The lower skirt opens into broader folds, while the closer cuff view concentrates on a much smaller area of detail. Amsons lists polyester, a buttoned front, stitched panels and a matching belt for this design.

Lace Tassel 1044: crossed cords at the neck

Lace Tassel’s black design uses a sequence of crossed cords beneath the round neckline. The crossings create long diamond-shaped gaps in the upper-front arrangement, ending in two tasselled cords that descend over the chest. Their loose ends make a different kind of line from the fixed edges of a stitched panel.

The sleeves and lower body remain plain, with a matching waist tie. Sleeve ends narrow around the wrists rather than opening into broad embroidered cuffs. The rear photographs show the visible back and waist tie without a repeated laced arrangement. Amsons identifies polyester and a laced neckline for this model. The uncovered-neck photograph shows where the crossings begin and how their short repeated shapes lead into the longer tassels below.

Drawstring 680: gathering around the waist

The Chocolate drawstring design centres on a narrow gathered waistline. Two cords with tasselled ends descend at the front, while the rear photograph shows gathering continuing across the back. The upper body stays plain above this line, and the skirt widens below it without a separate patterned border or additional lower tier.

Simple sleeve ends keep attention on the waist treatment. In the side view, the gathering forms a small interruption between the straighter upper fabric and the longer folds below. The three photographs show the same restrained arrangement from front, side and back. Amsons describes a tasselled waistband, matching the channel and hanging cords visible in the front and side photographs.

Utility ASL-657: a flat tie and gathered wrists

The model displayed as Utility Navy Blue ASL-657 has a broad, flat fabric tie knotted at one side. Small gathers collect above it on the upper front, then open into long folds below. The tie stays within the garment’s blue colour scheme, so the waist is marked by a change of direction rather than a contrasting shade.

The sleeves gather into narrow wrist edges, leaving more volume immediately above them. Both available photographs face the front, with the closer image showing the waist knot and sleeve ends clearly together. Amsons lists polyester for the design. Its plain surface makes those construction details prominent: a horizontal belt, downward skirt folds and small gathered cuffs, with no large decorative motif competing for attention.

Double pressed Collar: a short upper panel

The black design displayed as Double pressed Collar 520604 has a notched collar and a short upper-front layer. Two angular gold-toned buttons sit down that panel. Its lower edge runs horizontally across the garment, creating a distinct division above the long plain body. The collar’s folded points and angular buttons give the upper section a firm outline.

A side photograph shows the short layer standing slightly away from the fabric beneath it. Small matching gold-toned buttons also appear at the cuffs. Below the upper panel, broad uninterrupted folds extend to the hem. Angled lapels, vertical buttons and a horizontal panel edge introduce different directions. These are concentrated high on the garment, leaving the lower section to show its simple continuous shape.

Epitome 520187: paired rows above long pleats

Epitome’s Ivory design places two separated rows of round matching buttons down the upper front. A narrow standing collar sits above them, while a plain central strip keeps the rows apart. Beneath the lowest buttons, long pleats open into the lower body, carrying the vertical arrangement towards the hem.

The sleeves have generous visible volume before gathering into long narrow cuffs. In the raised-hand photograph, small buttons run along one cuff, adding another closely spaced row at the wrist. The close front image shows the upper buttons and lower pleats: the rounded accents end where the deeper folds begin. With little colour contrast across the photographed garment, its detail comes chiefly from those repeated shapes, their placement and the changing direction of the fabric.

Two open batwing designs

Edina 660: leaf sprigs and pale front edges

Edina’s Olive outer layer has a broad batwing outline, with small pale leaf sprigs scattered across the front and sleeves. Bright lines run down the open centre, giving the two front edges a clear boundary. The little leaves stay separate from those lines, so the decoration combines an orderly vertical frame with a dispersed botanical field.

Deep curves of fabric fall below the arms, visible when the model holds one arm away from the body. The back view shows a largely plain expanse beneath the scarf, contrasting with the scattered front sprigs. Amsons identifies an open embroidered batwing design. The photographs distinguish the decorated front and arms from the plainer back, while the long pale edging remains the strongest straight line in the front composition.

Bashira 661: scalloped beaded lines

Bashira’s Burgundy design has a wide batwing outer layer decorated with deep curved lines. Dark beadwork traces repeated scallops across the sleeves and side panels. Several curves sit inside one another, making the pattern follow broad arcs rather than small individual flower or leaf motifs.

The outer layer is photographed over a plain matching inner dress, which the product description expressly includes. Its open front separates the decorated side panels from the unpatterned central area. A waist belt on the inner dress creates a horizontal line inside that opening. When an arm extends, the curved hanging fabric and scalloped decoration appear together, making the large scale of the pattern especially clear. The beadwork supplies the detail while the matching colour holds the layers together visually.

Further design accounts

For another catalogue organised around specific garment details, explore DARY abaya designs in Qatar. Its named examples bring front panels, sleeve finishes and contrasting surfaces into different arrangements.

Our account of Malbus abaya designs examines another selection of embroidered cuffs, patterned surfaces and coordinated pieces, with the individual drawings and their placement described separately.