Annah Hariri Abayas: Named Designs and Layered Sets

Annah Hariri’s abaya range includes individual garments, separate outer layers and sets assembled from several pieces. Those distinctions are a useful way into the collection: they tell you where the design’s interest sits and which parts of the outfit belong together. This guide explores named examples through their documented construction and official photographs. Source: Annah Hariri, Abayas collection.

The descriptions concern the particular versions reviewed on 28 October 2026; the outfit ideas are suggestions to adapt to your own preferences.

To explore broader choices before comparing individual designs, see our guide to choosing modern abaya styles.

Pleats, flare and the shape of a single garment

The pleated design: one garment with a skirted appearance

The Dark Blue Pleated Abaya creates the appearance of a short top above a pleated skirt within a single garment. The listing calls its cloth Egyptian crepe and gives the composition as polyester. It also specifies elasticated cuffs, side pockets and one button at the back. In the official photograph, a broad horizontal edge separates the quieter upper section from the folds below it. That division gives the design its character before accessories enter the picture. Source: Annah Hariri, Dark Blue Pleated Abaya, description and photographs.

This is an interesting option if you like the visual rhythm of separates but want that arrangement built into the garment. The apparent top length is part of the design; it cannot be changed by tucking in a separate blouse. Look at where that horizontal division falls in relation to the sleeves when considering the overall proportions. A scarf falling over the upper section would produce a different balance from the shorter arrangement shown in the photograph.

Elegance Essential: a plain A-line with a removable belt

Elegance Essential is described as a taupe satin abaya with an A-line flare, two side pockets and a detachable belt. Elasticated cuffs gather the sleeves into a slight puff. The photographed outfit uses the belt to draw a clear horizontal line across an otherwise plain garment, while the skirt opens out below it. The design has several points of interest without embroidery or a contrasting border. Source: Annah Hariri, Elegance Essential Abaya, description and photographs.

The removable belt is the useful distinction here. You can consider the A-line shape on its own, or use the supplied belt when you want more emphasis at the waist. Those are two arrangements of the same garment, rather than reasons to add another decorative accessory. In the pictured version, a dark scarf gives the pale main colour a defined upper edge. A scarf closer to the taupe would be a gentler alternative if you prefer less contrast near the face.

Sondos: a full circle skirt and a clasped collar

Sondos combines a full circle skirt with a high collar secured by three hidden clasps. The label describes Nahda fabric, a supplied belt and trim in two shades of black. Its photographs show a broad sweep at the hem, with curved decoration across the lower garment. Annah Hariri also says the trim and belt design may vary slightly, so those photographed details should be tied to the version being offered. Source: Annah Hariri, Sondos Abaya, description and photographs.

Here the occasion interest comes largely from the outline and the lower decoration. If you enjoy a substantial skirt shape but prefer an all-black outfit, that is a different starting point from adding coloured embellishment. Keep the collar in mind when arranging a scarf: you may want to show its shape, or cover it according to your preference. The three clasps are a documented construction detail; the photographs alone would not tell you how that neckline opens.

Sleeves and fastenings that distinguish the designs

The white button-front abaya: detail through the centre

The white Front Open Button-Down Abaya is listed in crepe with an A-line shape, a row of front buttons and single-button cuffs. The product title places it in the label’s Hajj and Umrah range. Its official photograph shows a shirt-like collar and a long central opening, giving the otherwise plain garment a clear vertical structure. The cuff fastening is another specific feature to consider alongside the main opening. Source: Annah Hariri, Front Open Button-Down Abaya, description and photographs.

If you prefer detail created by the cut and fastenings, this design offers that approach in one colour. You could keep the collar visible with a scarf arrangement that suits your coverage preferences, or let the scarf soften the upper part of the shirt-like outline. Worn open over a base, the fronts would frame another garment; fastened, they would form the central line of the white outfit. Consider which arrangement interests you when looking at the full-length photograph.

The blue batwing dress: a zip and adjustable cuffs

The Blue Batwing Sleeve Dress pairs a broad batwing cut with a front zip and Velcro sleeve fasteners. Annah Hariri calls the material Nidha in its notes. The photographs show the wide fall beneath the arms narrowing towards the wrists, while the front remains visually simple. The matching hijab is explicitly excluded from the product. Those details distinguish the garment from an outfit that merely looks similar in a styled photograph. Source: Annah Hariri, Blue Batwing Sleeve Dress, description and photographs.

Its one-size chart lists a garment length of 147 cm and a sleeve figure of 74 cm. Those are measurements for this particular piece; the size label does not describe every wearer. The zip may be the deciding feature if you want a front opening with a less prominent row of fastenings. The adjustable sleeve detail is worth asking to see closely if it matters to you, because the complete outfit photographs reveal the overall shape more clearly than the fastening mechanism.

Radwa: small gathers within a broad black shape

The black Radwa is described as a loose batwing abaya with ruched sleeves. In the official photographs, the wrist area gathers into small ruffled edges, while the main body has a broad, plain fall. The effect is concentrated at the hands rather than spread across the whole garment. The listing uses numbered sizes 1, 2 and 3, with separate length and shoulder-plus-sleeve entries. Source: Annah Hariri, Radwa Batwing Abaya in Black, description and photographs.

That combination may appeal if you want a largely uninterrupted black outline with one softer detail. Its chart also shows why the numbered choices deserve attention: the listed lengths are 136, 142 and 145 cm, while shoulder plus sleeve increases from 74 to 75 to 76 cm. The changes are different across those two dimensions. Retain the combined shoulder-plus-sleeve label rather than treating it as sleeve length alone. A chest measurement is not supplied in this table, so it cannot settle how much body room each option provides.

Ikella: sleeve bows and different front and back lengths

The taro Ikella uses a batwing cut with button and bow details at the sleeves. Annah Hariri describes taro as a soft lilac pink. Its photographs show broad folds below the arms and small ties near the wrists; a circular button detail is also visible below the neckline. The listing explicitly excludes a cream-white khimar from the offer. Source: Annah Hariri, Taro Ikella Batwing Abaya, description and photographs.

The front and back lengths are especially useful here. Size 1 is listed at 134.5 cm in front and 143 cm at the back; Size 2 is 138.5 cm and 147 cm respectively. Each back is therefore 8.5 cm longer than its front. That is a real design distinction which a straight-on image can obscure. If you are drawn to the sleeve bows, consider whether you want the scarf ends beside them or prefer to leave the wrist detail as the main small accent.

Lovenia: snaps, a matching belt and kimono sleeves

Lovenia is a dusty-pink open-front abaya with long kimono sleeves, snap fastenings and a matching belt. The sleeveless slip shown in the photographs is sold separately. In the photographed outfit, the tied waist creates folds through the middle while the sleeves remain broad. The snaps are useful written information: their presence is less obvious in the complete outfit view than the belt and sleeve shape. Source: Annah Hariri, Lovenia Open Front Abaya, description and photographs.

This gives you a specific decision about the front treatment. If you like a relatively quiet fastening line but still want the outer garment to close, snaps are a feature to compare with other closures. The matching belt can carry the waist detail without introducing a second colour. The listing uses S to XXL and labels one chart column shoulder plus sleeve, so its size language should be read on its own terms rather than borrowed from another Annah Hariri design with US-numbered options.

Colour built into the garment

The blue two-tone design: contrast built into a side panel

The Blue Two-Tone Crepe Abaya has a cream contrast panel at the side of a loose blue garment with long sleeves. The official photograph shows the pale section widening towards the hem, with the blue occupying most of the upper body. This is a colour contrast constructed into the abaya itself. Annah Hariri explicitly excludes the hijab from the product. Source: Annah Hariri, Blue Two-Tone Crepe Abaya, description and photographs.

The position of the cream is what makes the design interesting. It gives one part of the lower silhouette a different emphasis without placing a light stripe down the centre of the chest. A cream scarf would bring that pale colour upward; the photographed navy scarf keeps the stronger contrast lower down. Those choices create different distributions of the same two colours. The pale section belongs to the garment, so the two-tone arrangement remains part of the design whichever supporting pieces you choose.

Modern Black and Beyaz: an outlined look in reversed colours

Modern Black places off-white trim on a black straight-cut abaya with kimono sleeves. Beyaz reverses that relationship, using black edging on white. Their official photographs show closely related layouts: vertical lines through the body, markings at the sleeves and a low horizontal border. The first choice is which colour you want to occupy the largest areas. Source: Annah Hariri, Modern Black Abaya with White Trims and Beyaz Sport Abaya, description and photographs.

There are also specification differences. Modern Black is described as polyester. Beyaz lists hidden metallic buttons at the front; its notes mention polyester and its fabric section says scuba, without a complete percentage breakdown. Beyaz’s scarf is explicitly excluded. Once you have chosen the colour arrangement, compare those particular fastening and material entries. The contrasting outline already supplies the main graphic detail, so you can keep the pieces around it relatively quiet.

Fluid: broad colour blocks with buttoned sleeves

Fluid brings blue and beige linen-labelled sections together with black abaya-fabric panels at the front, back and sleeves. Annah Hariri describes three buttons at the open front and buttoned kimono sleeves. In the official photograph, a broad pale band crosses the lower part of the blue area, with black continuing below it. The brand does not identify the black panels’ fibre content in that description. Source: Annah Hariri, Fluid Abaya, description and photographs.

The photographed outer garment frames a bright red base, making the outfit’s centre another major colour area. That is a styling example to consider separately from the blue, beige and black built into the abaya. If you wanted a quieter centre, a black base would let the fixed colour blocks carry more of the contrast. This is also a design to view from several angles: the description places panels on the back as well as the front, so the colour arrangement is not limited to the first view you see.

Separate outer layers

Our guide to planning the layers beneath an open abaya addresses the base outfit. These two named outers offer different sleeve and waist details to consider alongside it.

Loves: gathered sleeves on a separate satin outer

The white Loves is an open-front maxi outer in satin, with full gathered sleeves as its main detail. The slip dress is explicitly excluded. In the photograph, the sleeve volume gathers towards the wrists while the front falls in long, relatively simple lines. That gives the hands and arms more visual interest than the centre of the garment. Source: Annah Hariri, White Loves Abaya, description and photographs.

Consider this as an outer piece you can pair with a base you already enjoy. Keeping both layers white would continue the pictured colour idea; a different inner would make the opening more visible. The sleeve shape is already a substantial feature, so your choice of base can remain simple. If you want to see the extent of the gathering, compare the wrist area with the wider sleeve above it in the product photograph.

Lounia: a navy outer with a detachable belt

The navy Lounia is a maxi throw-over with a detachable belt. Its detailed notes describe poly-linen, while the broader fabric heading says linen; the latter should not be read as proof of pure linen. The slip is sold separately. In the official photograph, the open navy garment surrounds a large area of white, with the cuffs providing another visible change of direction. Source: Annah Hariri, Navy Lounia Abaya, description and photographs.

You could retain that clear navy-and-white arrangement or try a navy base for less separation between the layers. The detachable belt gives a further choice about where the outfit draws inward. Consider the two decisions together: the amount of the inner you want visible, and whether you want a defined waist. The photograph provides one starting arrangement, while the supplied belt makes another possible.

Sets with a distinct inner garment

Prilla: the inner skirt supplies a second hemline

Prilla’s pink outfit is supplied with a removable belt and a batwing outer. The inner is described as long-sleeved; its skirt is designed to look as though it has two tiers. The photographs show a shorter skirt edge above the final hem, framed by the outer garment’s long fronts. The interest is therefore partly in the inner dress. The tiered appearance does not mean that a separate skirt is supplied. Source: Annah Hariri, Prilla Three-Piece Abaya Set, description and photographs.

If you like a layered outline without introducing a second colour, this photographed arrangement offers a useful example. There is, however, a precise question to resolve before relying on the inner dress alone: although the description calls it long-sleeved, the US 4–6 inner chart lists a sleeve figure of 28 cm. Ask what that measurement covers and request a clear view of the inner by itself. The complete outfit photographs do not settle which visible sleeve belongs to which component.

Khadijaa: a wrap bodice beneath a plain outer

Khadijaa combines a black satin maxi inner with a separate throw-over. Annah Hariri describes a wrap bodice, long sleeves with elasticated cuffs and a zip at the back. In its photographs, the crossed upper section gathers towards the centre, while the outer creates long, open lines beside it. The visual interest sits relatively high on the outfit rather than at the hem. Source: Annah Hariri, Khadijaa Two-Piece Abaya, description and photographs.

This may appeal if you want the inner garment to contribute a defined design of its own. Keep the documented fastening separate from the style name: a wrap bodice does not, by itself, establish that the entire dress opens or adjusts like a conventional wrap dress. The listed rear zip is the clear fastening information available. For an evening interpretation, you could let the crossed bodice remain the focus and arrange the scarf for your preferred coverage, without adding another ornament at the same point.

Lusindi: a pearl-edged cape over an inner slip

The light-green Lusindi set contains an inner slip, a cape throw-over and a detachable belt. The label describes the outer material as organza-like, with faux pearl trim and elasticated cuffs. In the official photographs, the bright green surface catches the light and two lines of small pearls follow the front edges. The gathered sleeve and shoulder areas add further detail to the outer layer. Source: Annah Hariri, Lusindi Faux Pearl Abaya Set, description and photographs.

Organza-like describes an appearance here; it is not a declaration of a particular fibre. The photographs also show how different scarf colours change the upper part of the same outfit: black in one view, a softer brown-grey in another. If the pearl lines are the feature you most enjoy, leave enough space beside them for that detail to remain visible where your coverage preferences allow. The supplied inner and belt make this a documented set, but the accompanying scarf should not be assumed to be part of it.

Aprons and the shape around the waist

Lunamia, Trinia, the red Three-Piece Maxi Abaya and Noraa each combine an inner dress, a separate apron and an outer abaya. Their detailed listings identify the three components. The apron provides an additional waist layer alongside the longer garments. Sources: Annah Hariri, the four named product descriptions.

Lunamia: three components with different jobs

Lunamia uses mauve satin, with wide cuffs and a gathered knot at the centre of the photographed outfit. Its abbreviated Set Includes field mentions only the slip; the detailed description identifies the complete arrangement given above. Source: Annah Hariri, Lunamia Three-Piece Abaya, description and photographs.

The separate charts add useful precision. In the US 4–6 row, the inner is listed at 131 cm long, the outer at 133 cm, and the mid wrap at 96 cm. These are lengths for different components. Notice how the tied centre produces shorter folds over the longer dress. If that knot is the detail you enjoy, arrange a scarf to leave it visible where your coverage preferences allow.

Trinia: an apron within an all-black layered set

Trinia keeps its components black. Annah Hariri labels the material linen and describes three ways of tying the adjustable apron. In the official photographs, overlapping edges do more visual work than colour contrast, giving the arrangement a relatively restrained appearance. Source: Annah Hariri, Trinia Three-Piece Set, description and photographs.

If the waist treatment is the reason you like it, ask to see those stated tying options rather than inventing them from one photograph. There is also a precise gap in its chart: the US 18 inner bust entry is blank. Have that measurement confirmed for the actual inner, rather than extending the neighbouring sizes’ sequence. A complete-looking photographed outfit does not supply the missing figure.

The red three-piece design: seams as a visible detail

The red design’s outer is finished with what the label calls inside-out stitching. Its photograph shows overlapping shapes across the front, with a diagonal apron edge adding direction within the single colour. The seam treatment is part of the stated design, rather than an accidental fault implied by the unusual wording. Source: Annah Hariri, Red Three-Piece Maxi Abaya, description and photographs.

The interest lies in the edges and the places where they overlap. The photographed outer is open enough to reveal the diagonal line across the middle. Use that view to decide whether you enjoy the construction itself, as well as the red. If the stitching is the detail that attracts you, a close photograph of the finished edge would help distinguish its treatment from the larger overlapping panels.

Noraa: fine dark outlines around a white set

Noraa uses white with black contrast piping. The photographs show fine dark outlines following the outer’s fronts, lower section and sleeve details. One arrangement emphasises the tied centre; another presents longer, freer front lines. The piping makes those different edges easier to distinguish. Source: Annah Hariri, Noraa Three-Piece Abaya, description and photographs.

Compare the two photographed arrangements before adding another belt: the supplied apron already creates a waist treatment. An extra belt would introduce a new horizontal line across the existing outlined edges. You might enjoy that, or prefer the fine piping to carry the design. Repeating black once in a scarf would change the balance near the face without changing the arrangement at the waist.

Fleeur: a detachable apron on a satin dress

Fleeur is a grey satin-labelled maxi dress with elasticated sleeves and a detachable apron. Annah Hariri describes the apron tying at the waist, either knotted at the front or worn towards the side. The photographs show the fabric gathering from that point into hanging folds. Here the additional piece changes the front of a dress, rather than forming a separate open outer garment. Source: Annah Hariri, Fleeur Maxi Abaya Dress, description and photographs.

The position of the knot is a concrete styling choice. A central arrangement gives the folds a different starting point from one moved towards the side. Compare the supplied images for the direction of those folds, then decide whether that detail is something you want visible beneath your usual scarf. Because the apron is explicitly detachable, you can also consider the dress without that added element. Keep the material wording modest: the listing’s satin-and-polyester-blend description does not provide a precise fibre breakdown.

Elyna: an apron arrangement with broad kimono cuffs

Elyna is described in khaki-brown satin with long kimono sleeves, a belt, pockets and an apron arrangement. The official close view shows a broad, curved cuff beside the tied waist. A hand placed in the pocket also makes the opening’s position easier to identify. Those are visible design details; the photograph does not establish the pocket’s capacity or how the garment will feel in use. Source: Annah Hariri, Elyna Abaya, description and photographs.

The main choice here is how much you enjoy the relationship between that wide cuff and the more defined centre. The sleeve remains a conspicuous part of the photographed outline even though the fabric is plain. If you prefer interest through shape, the cuff may be enough without an additional patterned accessory nearby. A scarf close to the garment colour would keep attention on those lines, while a contrasting scarf would make the neckline a stronger part of the overall arrangement.

Choosing the arrangement you want

Choose the section closest to your idea of an outfit, then compare two designs within it. That keeps the decision specific: what do you want the garment itself to contribute, and how much of the finished look would you like to assemble separately?