VELA Printed Hijabs

VELA’s printed hijabs include sharply defined repeats, expansive colour fields and designs with credited artists’ personal stories.

VELA product descriptions and photographs, reviewed 29 October 2026.

Checks and geometric repeats

Countryside Argyle: diagonals across the cloth

Countryside Argyle arranges brown, cream and pale blue diamonds in diagonal sequences. The angled shapes meet across the surface, so the pattern continues through adjoining units instead of placing a separate motif in an otherwise plain field. Darker brown areas give the lighter diamonds firm boundaries, while the blue introduces a cooler note within the mostly warm palette.

The longer photographed section makes the repeat particularly clear: several complete diamonds can be followed down the cloth. Its character comes from the angular meeting points and recurring diagonals, with colour changes inside the pattern rather than a broad ornamental border taking over at the edge.

Houndstooth: fine checks and narrow end stripes

Houndstooth uses a small broken-check motif in brown and tan. Each angular unit links visually with its neighbours, producing a dense surface whose individual shapes become clearer in the closer photograph. Pale and dark marks occupy the same repeating structure, keeping the contrast spread across the scarf rather than concentrated in a few large pictures.

Narrow mustard or gold-toned stripes introduce a different rhythm near the ends. Their straight lines interrupt the busy checks without becoming a broad illustrated panel. In the longer view, the main pattern reads first as a closely worked field; the striped edge remains easier to separate at a glance. The interest lies in that change of scale, from many tiny angular marks to a small number of uninterrupted lines.

Sunset Grid: colour that suggests rounded depth

Sunset Grid sets soft pink centres inside large outlined cells, with darker navy-toned colour collecting towards their corners. The boundaries bend slightly, giving the grid a less rigid appearance than a set of straight ruled squares. Within each cell, gradual changes of tone make the centre seem fuller and the surrounding areas recede.

This rounded effect belongs to the printed image. The long product photograph shows the sequence continuing across an ordinary flat expanse of cloth, where the shaded cells remain visible without the folds of a worn arrangement. At the head and shoulders, actual folds interrupt those repeated units and bring neighbouring dark corners closer together. The two kinds of depth can therefore be seen together: the scarf’s physical folds and the soft, cushion-like illusion within its pattern.

Starry Mosaic: large forms built from tiny marks

Starry Mosaic combines pale geometric stars and rosette-like shapes with a grey and navy ground. The larger motifs are assembled from numerous small square marks, so an apparently broad flower or star resolves into a grid of finer components on closer inspection. Smaller units occupy some of the spaces between the more prominent shapes.

The hanging view reveals angular lines and changes of scale across the composition, as well as an Arabic mark near a corner. VELA’s description connects the design with the Islamic year, but the photographed pattern can also be followed through its geometry: stepped outlines, small points and larger radial forms. The dark ground remains visible between those elements, separating their edges and allowing the repeated square detail to remain part of each larger shape.

Crescent Domes: warm fields and rounded shapes

Crescent Domes brings together golden brown, tan and muted rose in broad adjoining zones. The arrangement has a loose check-like structure, although its rounded marks and uneven divisions prevent it from becoming a simple uniform grid. Dome-like arches and curved shapes appear within the larger areas, introducing smaller changes of direction inside the blocks of colour.

VELA associates the print with sunset over domes. In the photographs, that reference is expressed through warm tones and curved outlines rather than a clearly labelled architectural scene. Some boundaries are fairly straight and others bend, making the transitions between the coloured fields as noticeable as the motifs contained within them.

Branches, flowers and open ground

Woodland Pines: trees between light and dark

Woodland Pines places dark tree silhouettes beside much paler olive areas. The enlarged product photograph shows branches and pointed tree forms gathering into a dense brown and grey field, then giving way to lighter stretches. This uneven distribution makes the image resemble a layered landscape rather than a regularly spaced row of identical trees.

The worn photographs expose different portions of that landscape. One area near the head is comparatively pale; farther down, overlapping dark shapes create a much busier section. There is no single narrow border containing all the detail. Instead, the transition between open ground and densely pictured trees travels through the scarf itself.

Wisteria Branches: pale lines across plum

Wisteria Branches uses pale ochre stems and small blossom forms against a muted plum and lavender ground. The branches divide and fork as they cross the cloth, with considerable space between one limb and the next. Their light colour makes the branching structure easy to follow even where the flowers remain small.

The longer area reveals more of their irregular spacing: the stems do not form a neat lattice, and the blossoms gather around particular limbs instead of filling every gap. Much of the plum ground therefore remains visible as an active part of the design. Its relatively uninterrupted areas give the pale branches room to spread, keeping the drawing legible without a dense all-over floral repeat.

Antique Bloom: a closely patterned brown field

Antique Bloom brings flowers and leaves together in brown, rust and darker tones. The colours sit relatively close to one another, so the floral drawing emerges through differences within the warm palette rather than through a bright flower placed against a strongly contrasting background. Several shapes overlap visually, making the surface appear densely filled.

The long product view is useful for following that detail beyond the head wrap. Dark leaf-like areas and lighter floral forms continue down the hanging cloth, without a broad contrasting border separating them from the edge in the reviewed view. A small VELA mark appears near a corner. The density stays with the floral field itself: there are smaller gaps between motifs, but no large plain panel taking up the centre of the visible composition.

Blue Chantilly Lace: ornament beside open blue

Blue Chantilly Lace combines a dusty blue field with cream floral ornament. One broad area is densely patterned, with curling forms and a scalloped-looking printed boundary. Elsewhere, smaller flowers and fine branches sit apart against blue, allowing the ground colour to occupy more space between them. The design therefore changes density across the same scarf.

The product view shows why that distinction matters. An ornate band can dominate one exposed section, while another section presents only scattered botanical details. Its intricate outline belongs to the lace-inspired image printed on the cloth. Within that image, the busy ornament and quieter blue areas have different roles: one establishes a strong decorative margin, while the other allows individual small flowers and stems to remain separate rather than merging into a continuous pale mass.

Midnight Blossom: roses and separate petals

Midnight Blossom sets red roses against black, mixing larger flowers with smaller isolated petals. Several red tones appear within the fuller blooms, giving their overlapping petal shapes more detail than a single flat silhouette. The separate small marks leave wider areas of black around them, so the background is not equally crowded everywhere.

In one photographed arrangement, a large rose occupies a conspicuous area near the head. Another visible section carries mainly smaller petals, changing the balance between red and black without changing the print itself. The long cloth allows both scales to appear together. Following the flowers downwards reveals how a substantial bloom can be surrounded by much smaller fragments, with the dark gaps maintaining a clear distinction between a complete rose and the scattered pieces around it.

Petal Sunfade: enlarged pale forms on brown

Petal Sunfade uses very large pale petal-like shapes on a brown ground. Warm gold and rust tones form soft halos around some of their edges, so the transition from light to dark is gradual rather than sharply outlined. The shapes occupy substantial areas of cloth, leaving fewer complete motifs visible in any one small section.

The longer photograph shows their uneven spacing and the quieter brown areas between them. The print’s scale is central to its appearance: the viewer sees expansive curves and softened boundaries before seeing a compact floral picture. Brown remains prominent between those curves, giving the lighter areas distinct room within the overall composition.

Spotted Orchid: dense marks and paler intervals

Spotted Orchid carries purple, plum and fuchsia marks across a pale ground. Some are rounded spots; others lengthen into irregular strokes. Their sizes vary, and the colour gathers more closely in certain areas while leaving paler strips elsewhere. VELA identifies an orchid as the inspiration, giving the spotted image a specific botanical reference.

Across the shoulder, several elongated marks sit beside smaller flecks, making the change of scale visible within a relatively small area. The hanging section reveals broader differences in density. A close cluster can give way to a more open interval before the coloured shapes collect again. This variation keeps the pale ground involved in the pattern: it outlines individual marks in the crowded areas and becomes a larger field where the spacing opens up.

Sunset Floral: fine flowers over changing colour

Sunset Floral spreads pale flowers, thin stems and small leaves over a background that shifts through coral, red, burgundy and orange. Many of the flowers have simple five-petalled outlines, connected by branching lines into a fine network. The botanical drawing remains relatively small compared with the much broader areas of changing colour beneath it.

The enlarged photographs show those flowers continuing across the transitions in the background. A pale stem can pass from a warmer orange area into a darker red section without becoming a separate border or panel. The source describes a lace-related pattern, expressed here through the printed floral network. Its detail comes from the repeated small flowers and connecting branches, while the larger colour changes supply another layer of variation across the visible length of the scarf.

Wings, spots and shells

Monarch Wings: an enlarged pattern in rust and cream

Monarch Wings takes its reference from butterfly wings, according to VELA. The photographs show broad rust, cream and black areas, with dark rounded patches and elongated sections whose boundaries soften in places. The image is enlarged enough that a small exposed area can contain only part of one shape, rather than several complete butterfly illustrations.

The product photograph reveals more of the arrangement than the close worn view. Dark ovals and irregular pale areas recur across the cloth, but their outlines and proportions vary. Rust provides a substantial middle tone between the lightest and darkest sections. The wing reference works through that enlarged surface pattern and its contrasting patches.

Speckled Hide: irregular patches on cream

Speckled Hide places black and brown marks on cream, varying their length, width and spacing. Some patches are compact, while others stretch into longer broken forms. Their uneven edges and scattered smaller flecks prevent the surface from looking like a regular grid of equally sized spots. Cream gaps remain visible between the darker areas.

Dark patches cluster more closely in some places and leave wider pale intervals in others. Individual marks also change direction, so there is no single uninterrupted stripe running through the whole view. The design depends on those shifts in shape and spacing: the cream is both a background for each patch and a network of gaps separating neighbouring groups.

Cheetah Camo: long soft-edged strokes

Cheetah Camo combines a cream ground with elongated brown patches and smaller flecks. Many of the larger marks have soft, streaked edges, giving them a less firmly enclosed outline than a simple round spot. Narrow fragments appear between broader ones, so the print moves between substantial brown areas and much finer interruptions of the pale background.

The hanging product view shows that variation across a longer stretch. Some marks run beside one another for a short distance, while others break into isolated pieces. Their lengths differ enough to keep the arrangement from becoming a uniform stripe.

Ocelot: rosettes mixed with longer marks

Ocelot uses a tawny golden ground with dark brown and black rosette-like forms. Some marks have lighter centres enclosed by darker edges, while others stretch into longer stripe-like shapes. The combination gives the surface several kinds of outline, with rounded, irregular rings appearing beside more extended dark sections.

The reviewed views show a dense distribution, although the motifs are not all the same size. Larger rosettes occupy noticeable areas, and smaller marks fill some of the spaces around them. The golden ground remains visible inside and between the dark outlines, connecting the pattern across the cloth.

Giraffe: a pale network around brown patches

Giraffe builds its pattern from caramel and brown patches separated by cream lines. The patches are broadly polygonal but irregular, with changing numbers of sides and uneven widths. Their lighter boundaries connect across the scarf, creating a visible network around the darker shapes rather than a collection of isolated spots floating in plain space.

Some photographed areas contain several broad patches, while others bring together smaller ones. That difference is easy to see between the portion near the head and the longer expanse below it. The cream network remains the linking element through both scales, bending around each patch and meeting at irregular junctions. Brown occupies much of the visible surface, but the connected pale lines give its larger areas clear divisions and make the pattern’s structure readable across the folds.

Amber Shells: fans outlined with orange lines

Amber Shells uses cream fan-like shapes defined by strong orange contours. Several inner lines spread through each unit, echoing the widening outer curve and giving the shell reference a clear graphic structure. The large forms meet or overlap across the surface, so their outlines create an energetic arrangement without needing many different colours.

In the long photograph, successive fans can be followed through the hanging cloth. A wide curved edge may sit beside the narrower base of another shape, changing the direction of the radiating lines. The cream areas remain substantial within each unit, while orange does much of the work of separating and describing them. Both the outer curves and the smaller internal strokes belong to the printed motif, creating detail at two scales within the same repeated shell-like form.

Contours and blended colour

Palm Dunes: thin contours around broad centres

Palm Dunes carries grey, olive and yellow-toned lines over a pale sandy ground. The lines turn around broad centres, building irregular concentric zones rather than running straight from one end to the other. Some sections curve smoothly, while others form more angular corners, giving the repeated contours several changes of direction.

The product photograph exposes enough length to show how neighbouring zones meet. A broad, relatively pale centre can be surrounded by many closely spaced lines, followed by another area where the curves spread out. VELA presents this as a version of its Dunes design. In the selected Palm palette, the thin coloured contours remain distinct from the lighter intervals between them, so the pattern can be followed as a sequence of lines as well as larger enclosed shapes.

Cocoa Sediment: broad bands and quieter planes

Cocoa Sediment combines mauve, taupe and brown in broad flowing areas. Curving bands travel through the composition, interrupted by paler streaks and stretches where one colour occupies more space. The scale of these planes makes the print feel expansive in the photographs: a single area can continue across several folds before meeting a different tone.

The long view shows an asymmetrical arrangement rather than a repeated row of identical cells. Some bands are narrow and closely gathered, while others open into larger quiet sections. Their boundaries bend gradually, so the changes of colour become part of a continuous movement across the cloth. The current product title is Cocoa Sediment, and the photographed palette includes muted mauve-grey notes as well as brown, making the relationship between those neighbouring tones central to its appearance.

Mermaid Ripple: blue marks in uneven rows

Mermaid Ripple arranges irregular blue oval marks in vertical rows against olive green. Pale blue outlines surround many of the larger shapes, while smaller light dots occupy some of the spaces between them. The marks vary in size and length, giving each row an uneven rhythm rather than a mechanically identical sequence.

The longer product view reveals differences between neighbouring rows as well as between individual marks. Some blue sections are broader, others narrow into smaller pieces, and the olive ground remains visible as a changing interval between them. The pale outlines add a finer level of detail within that larger blue-and-green arrangement.

Mango Peel: a broad gradient of warm and green tones

Mango Peel brings green, golden yellow and orange together in broad areas with gradual transitions. Its reference is conveyed through the palette and changing colour, without a repeated illustration of whole fruit in the reviewed cloth. The orange and yellow sections gather towards some edges of the visible area, while green occupies a substantial central stretch.

The long photographed arrangement makes that distribution particularly clear. A continuous green field can extend through several folds before turning warmer, so the scarf presents large expanses of colour rather than a dense collection of separate motifs. Soft boundaries connect those areas, allowing the colour shift itself to supply the main visual detail.

Three artists and their designs

Leppi: Lulah Balde’s family memories in blue and grey

VELA credits Leppi to Guinean artist Lulah Balde. Its account links the design to patterns she admired in her mother’s clothing. Another family memory comes through her father: his grandmother worked as an indigo dyer. Those are the family references attached to this particular print, giving the artist’s blue and grey composition a personal context.

The photographs show wavering dark and pale lines, with irregular lighter openings inside broader bands. Blue, grey, black and cream meet in a pattern whose edges often soften rather than forming a sharply ruled stripe. Narrow lines sit beside wider sections, producing repeated changes of width along the cloth. The visual rhythm comes from that uneven relationship between dark bands and pale gaps, while the credited story explains the family associations that informed the design.

Om Al Dunya: Jeneen Elbershawi’s graphic tribute

Om Al Dunya is credited to Egyptian artist Jeneen Elbershawi. VELA’s artist account identifies the women in her family as its central inspiration and connects the title with her affection for Egypt. The photographed design gives that tribute a bold graphic arrangement, combining a large angular red and cream medallion with blue curved forms and yellow or gold-toned framing.

Smaller navy shapes occupy parts of the surrounding field, while a red script band appears towards an end. The scale changes markedly across these elements: the central angular form is broad, the curved blue shapes extend around it, and the smaller marks supply detail between them.

Mosaic Damascene: Nasreen Atik’s remembered city

VELA credits Mosaic Damascene to Syrian artist Nasreen Atik and describes its connection with her memories of Damascus, including stone streets, souks and the artistry she associates with her family’s past. The print uses tan, rust and black, translating that personal account into an arrangement of framed geometric areas rather than a single continuous city illustration.

Small triangles sit inside broader angled panels, while fine stripes and check-like bands border other sections. Some areas remain largely black, creating pauses between the more closely detailed fields. In the longer photograph, the different scales become easier to distinguish: broad framing establishes the main divisions, then much smaller marks fill or outline them. The composition keeps those separate kinds of geometry visible together, allowing both the larger structure and its finer internal pattern to carry the design.

Further design stories

VELA’s earlier design story appears in our account of Islamic fashion designers in Los Angeles, alongside other labels and creative projects from the city.

For another label’s named scarf compositions, explore Hanami’s printed bawal designs, where square formats bring borders, flowers and small geometric details into different arrangements.