Hanami Bawal Designs

Hanami’s current store locator identifies Hanami Empire’s headquarters in Shah Alam, Selangor.

Hanami catalogue photographs reviewed on 29 October 2026.

Open colour and abstract marks

Linea: pale flowers with room around them

Hanami’s lead Linea photograph places two different pastel designs together. One has elongated pink, yellow and grey-green marks; the other shows much broader, softly defined pink flower areas on a pale ground. The latter leaves considerably more open space between its main shapes. In the long front fall, that spacing is particularly conspicuous: the pink does not fill every part of the cloth.

The larger Linea collages show that the range also includes denser and darker designs. The pale example is therefore a specific direction within Linea, rather than a description of every scarf carrying the name. It could interest someone who wants a floral impression without a closely packed field of little blossoms. The white clothing in the photograph continues the light background, allowing the pink areas to supply the change in colour.

Artea: broad patches rather than small repeated motifs

The dark Artea photograph combines wine, cream and muted pink in irregular patches. Some marks stretch diagonally; others break into shorter shapes. There is no obvious single flower or central emblem to follow. Across the long front triangle, the contrasting patches create the main movement, while the narrow dark edge provides a comparatively simple finish.

A separate blue presentation shows the same interest in broad, shifting shapes, with cream and grey-green areas between the stronger blue. That image labels a shawl and a bawal separately, an important distinction when looking at their different hanging outlines. For the square, the triangular fall gathers several coloured patches into one visible area. The attraction lies in the scale and irregularity of the patches, so a small cropped view tells less than the photograph showing the whole front arrangement.

Brushe 2.0: a dense, mottled surface

Hanami’s purple Brushe 2.0 presentation shows numerous small broken marks in cream, plum and lavender. They overlap visually into a mottled field, with few broad empty areas separating them. Around the head, the pattern is compressed by the folds; across the longer front section, more of the little marks can be seen together. The overall impression comes from their accumulation.

The pale pink presentation changes the contrast substantially. Its pink, yellow and grey touches sit closer to the surrounding light cloth, making the same kind of busy surface appear gentler. Both images contain square and shawl presentations, so their different ends should be read as different formats within the pictured range. The photographed pink clothing repeats one of the softer colours. Neither arrangement requires the print to resolve into a recognisable object; its interest is the changing concentration of colour.

Sophia: softly defined colour across a pale scarf

The pale pink Sophia photograph gives much of its visible area to diffuse flower-like marks. Their edges are soft, and the pink remains relatively close to the cream background. Across the front triangle, the design reads first as a gentle variation in colour. Smaller details become more apparent only when looking closely at the cloth beside the face.

Hanami’s wider Sophia presentation includes other compositions, including examples with much clearer rectangular borders. The pale pink image is useful precisely because its outline receives less emphasis. With the cream outfit shown, the scarf and clothing form a light overall arrangement, while the pink supplies a subdued difference near the face and chest. Someone wanting a sharply outlined scarf might respond differently to another version in the same collection. Here, the feature to recognise is the soft transition between marks and background.

Rayaleen: fine marks that build a stronger colour

One Rayaleen photograph centres on a bright red-and-pink scarf covered with short, broken pale marks. Their small scale creates an almost streaked appearance across the crown and hanging section. The front fabric is gathered closely below the chin, then opens into a broader fall where many of those marks become visible together. The colour feels forceful even though no single large motif dominates.

The collection collage also contains more conventionally framed floral versions. That variety makes the specific red example worth identifying through its photograph, rather than expecting every Rayaleen code to have the same character. The cream sleeves beneath it leave the patterned area conspicuous. The useful distinction is between the small individual marks and the larger red impression they create: both are present, but they become noticeable at different viewing distances.

Small patterns and conspicuous edges

Whimsy: a bold outer zone around a finer centre

Hanami’s black-and-white Whimsy photograph shows an unusually clear change of scale within one scarf. Small pale marks fill the area around the head and neck. Along the extended outer section, much longer, frond-like shapes spread across black. That larger decoration creates a strong frame even when the smaller central pattern is difficult to distinguish from a distance.

The grey scarf beside it has a different arrangement, using fine flowers and darker ornamental edging. Keeping the two versions separate avoids reducing Whimsy to a single black floral print. In the photograph, the extended fabric shows a long run of those pale shapes. A narrow front arrangement would show a smaller fragment. The design offers two levels of decoration to work with: the fine field near the face and the much bolder marks towards the edge.

Seara: small dots meet a floral perimeter

The yellow-green Seara shown in Hanami’s first paired photograph has a relatively quiet area around the forehead, dotted cloth through the front and a pale floral band near the outside. Those three zones become clearer as the fabric opens away from the neck. The flowers are concentrated towards the perimeter, leaving the middle less decorated than the edge.

A black version in the next photograph places tiny dots near the crown above a larger, charcoal-toned ornamental area. Its low colour contrast makes that decoration less immediately obvious than the pale border on yellow-green. These are distinct visual choices within the same named range. The yellow-green example could provide a clear light outline against dark clothing, while the black arrangement shown with a black garment lets the larger ornament sit more quietly. The broad front photograph reveals more of the patterned zones than a close portrait.

Fleurie: many small flowers inside a quieter edge

Fleurie’s black example carries a dense scattering of small pink, cream and muted green floral marks. A broad, dark outer strip surrounds them. The strip gives the triangular fall a definite boundary, while the tiny flowers continue through the portions gathered around the head. The print therefore remains detailed even where only a narrow section of cloth is exposed.

The pale pink companion uses a similar small-scale floral emphasis with much less contrast. Hanami’s collage repeats that distinction across other light and dark versions. In the first photograph, the pale clothing makes the dark perimeter especially easy to follow. That outline is part of the design’s appeal, alongside the flowers themselves. A garment close to the border colour would reduce that separation and give the small coloured marks more of the attention.

Eyana: a busy centre and a broad pale frame

The blue-grey Eyana photograph places an intricate field of tiny floral marks inside a broad, pale lavender edge. Several narrower lines sit between the busy interior and the calmer outside band. Around the face the detail is close and continuous; down the front, the widening triangle exposes the relationship between the small marks and their surrounding frame.

The pale border gives this particular version a recognisable outline without relying on a very dark perimeter. It could sit beside a grey garment with the lavender band providing the principal colour difference. Hanami’s wider Eyana collage includes substantially different palettes and patterns, so the blue-grey image is the reference for these suggestions. The feature to retain when comparing another photograph is the division between the dense centre, the fine intermediate lines and the much broader outside strip.

Puspa: separate bouquets on a light blue ground

In Puspa’s lead photograph, the light blue scarf carries small pink floral groups with visible gaps between them. A quiet pale edge runs around the lower portion. The flowers remain recognisable as separate clusters across the broad front fall, rather than merging into one continuous mass of pink. The light ground contributes as much to the appearance as the motifs.

The brown scarf alongside it is much denser and includes several patterned perimeter bands. Hanami also supplies a folded-scarf chart, useful for seeing that the collection contains different arrangements rather than one print recoloured throughout. For the blue example, a pale blue garment could continue the open ground, while a cream layer would separate the triangle more clearly. What distinguishes this photographed version is the breathing room between the flower groups, especially when a larger section of the scarf remains visible across the front.

Geometry, dots and small motifs

Icon: angular marks arranged in larger bands

Icon’s lead pair uses angular marks, short strokes and linked rectangular forms in wine, pink, cream and muted green. These are organised into larger bands rather than scattered evenly across the cloth. In the pale example, a diagonal change of colour cuts through the long front section, making the arrangement conspicuous even before the smaller repeated shapes are examined.

The pink catalogue photograph shows the same kind of relationship between a large division and finer marks within it. A plain garment would allow both scales to remain visible. Patterned clothing brings another set of motifs beside those angular marks. Our guide to styling a printed abaya explores that wider outfit question. For Icon itself, the detail to notice is the way the small shapes change direction and density across the broader bands. It offers more structure than a uniformly scattered repeat.

Giselle: repeated scallops within a defined frame

Giselle’s black-and-bronze photograph shows rows of overlapping scallop-like forms. Each curved unit contains smaller decoration, so the pattern has both a repeated outline and detail within that outline. The lower front triangle reveals several rows together. Around the head, the same curves appear in shorter fragments separated by folds.

A wine-coloured version in the lead pair surrounds its colourful scallops with a wide pale-and-wine frame. That frame changes the balance between the repeating centre and the perimeter. If you prefer the wine frame, its long diagonal edge may be the feature you want to emphasise against a pale garment. These are printed scallop motifs in Hanami’s photographs. They should not be confused with evidence that the physical edge of the cloth has been cut into scallops. The outline of the artwork and the outline of the scarf are separate details.

Dottie 3.0: dots, plaid and a lace-like band

The photographs labelled Dottie 3.0 combine three clear kinds of pattern. Small dots occupy the main field; a plaid strip runs around the outside; and a finer, lace-like printed band sits between them. On the cream version, blue ornament and red-and-yellow plaid make that division particularly easy to see. The dotted centre and the checked frame have distinct roles.

Hanami’s paired image labels a bawal and a shawl separately. The same motif combination appears within different hanging outlines, so the picture is useful for understanding the collection’s visual idea without treating both pieces as one shape. The wine and pink versions give the dots a stronger background while retaining colourful edging. If you like the plaid, leave a length of that edge visible in your preferred arrangement. A plain knit would leave the scarf’s dots, plaid and ornament as the principal pattern.

Magika Reborn: little bows and crossing lines

Magika Reborn’s light blue lead photographs show small bow-like motifs distributed across a fine network of lines. Some bows appear clearly near the forehead, while others sit within the longer hanging sections. The motifs are much smaller than the broad contrasting border. Their modest scale makes the decorated surface readable as a repeat without requiring one central image to remain exposed.

The beige-and-pink photograph gives greater prominence to the crossing lines, which form a loose diagonal lattice. A darker outside band contains that lighter field. The two views provide different reasons for choosing within the range: the little bow shapes or the larger arrangement of the lines. A garment with a small bow at its cuff could make a restrained connection with the motif; a plain top would leave that reference entirely in the scarf. The visible bows, lattice and framed outline give Magika Reborn its distinctive combination.

Keffya: close angular repeats and zigzag bands

Keffya’s pale multicoloured photograph shows a tightly repeated, angular pattern through the centre. Fine red, dark and grey marks sit close together, creating a check-like effect. Around the outside, several zigzag bands make a larger frame before the cloth reaches its quieter pale edge. The main field and border use related angular shapes at different scales.

The paired wine and green versions reveal another distinction: the area around the crown can be predominantly one colour while the longer front section displays a much lighter patterned zone. That uneven distribution is part of the photographed composition. A plain green or wine garment could continue the stronger surrounding colour, leaving the lighter centre prominent. The useful design question is whether the close repeat or the zigzag frame attracts you most. The wider front views show how the smaller marks sit within that larger outline.

Roaria: spots that change density towards the edge

The tan Roaria in Hanami’s lead pair uses dark, irregular spots across the crown and side of the head. Towards the longer fall, the marks become smaller and more closely grouped near the perimeter. A quieter tan band interrupts the pattern. The result has more variation than an evenly spaced field of identical spots.

The pink photograph presents the idea in a very different palette. Small clustered marks sit against pale pink, with a broad light outside area and several larger shapes near the head. That version could appeal for its changing density and softer colouring. The tan example shown with brown clothing keeps the palette close, while its dark marks remain distinct. Pale clothing would give the whole scarf a clearer boundary. Across both examples, the quieter outside area allows the changing scale of the spots to remain visible.

Flowers within clearly drawn boundaries

Clara: a fine floral field with broad pink bands

One Clara photograph shows a dense field of tiny pink and grey-green flowers enclosed by several broad pink perimeter bands. The fine interior continues over the head and through the front triangle, while the outside strips create a much simpler outline. In that arrangement, the frame occupies enough space to be a substantial part of the scarf’s appearance.

The lead pair also includes a pink design with much larger green organic marks. Clara therefore contains more than one kind of floral expression. The finely patterned pink example is the useful reference if you enjoy a busy centre with a calm, clearly coloured edge. The cream knit beneath it leaves the horizontal stretch of the pink frame especially noticeable across the chest. A pink garment would bring the border and clothing closer together, allowing the interior flowers to become more prominent.

Haisley: the teal version’s nested borders

Hanami’s Haisley presentation includes numerous floral designs, but the teal example in its collage has a particularly clear geometric frame. Several pale and dark bands form nested angles around a closely patterned centre. The folded-scarf chart shows those borders meeting at a corner, making their layered arrangement easier to understand than from the worn view alone.

This example offers a more structured visual direction within the wider range. The teal field, pale inner line and darker outside areas each define a different part of the square. When folded into the photographed triangle, those rectangular borders become a sequence of V-shaped outlines. A cream garment could pick up the pale lines, while dark teal would continue the larger colour field. The chart shows the lines surrounding the cloth; the worn photograph reveals how much of the frame remains visible over the upper body.

Femmora: outlined flowers across navy

The navy Femmora shown beside a pale floral companion uses larger light-blue botanical outlines. Curving leaves and flower-like forms stand out against the dark field, with several narrow border lines enclosing them. Across the front triangle, the outlines remain individually noticeable. Around the neck, the folds reveal smaller fragments of those same forms.

That makes the navy version a distinct choice from the collection’s densely filled pastel flowers. Its drawing has more emphasis than its number of colours. A pale blue garment could repeat the outlines, while navy clothing would concentrate the contrast within the scarf itself. In Hanami’s photograph, the plain light garment makes both the dark triangle and its internal drawing clear. The border lines give the botanical shapes a definite limit instead of letting them run to an unmarked edge. These visible outlines are details of the printed design.

Lamara: bright flowers above a finely patterned band

The pale Lamara in Hanami’s first photograph carries repeated pink floral groups with small green details. Beneath the flowers, a denser brown-and-pink decorative band leads into a quieter beige outside strip. The long front fall makes that change especially clear: the eye moves from individual floral groups through a much finer pattern towards the unbroken edge.

The pale pink companion has a subtler overall appearance and a broader tonal frame. The collection collage also contains darker purples, browns and geometric repeats. The bright floral example is therefore best recognised through its particular sequence of patterned zones. A beige garment could continue its outside strip, leaving the pink flowers as the principal colour accent. A pink garment would draw more of the outfit into the floral palette. The flowers give way to smaller marks before the composition reaches its comparatively quiet perimeter, creating several distinct levels of detail.

Humayra: several green bands around a floral field

The Humayra photograph labelled Nourah shows many tiny multicoloured floral marks on a pale ground. Towards the perimeter, repeated green details gather into several bands, followed by a stronger green outside section. The arrangement gives the small flowers a definite frame without relying on one thick, uninterrupted line alone.

A different Humayra image uses a broad wine-coloured outer band around densely ornamented gold-toned areas. These photographs show how substantially the colour balance can change within one collection name. For the green example, the plain cream clothing supplies a quiet background behind the small floral marks. A green accessory could echo the outside band; that colour already connects the centre and border. The broad front view is useful because it shows several levels of that framing together. A close portrait would reveal the tiny flowers near the face while explaining less about the larger green outline.

Pixie: floral groups beneath a quieter crown

In Pixie’s dark lead photograph, pale flower groups occupy much of the longer visible fabric, while the top of the head appears comparatively plain. A wide grey-black border surrounds the decorated section. The difference between the quiet crown and the fuller pattern below gives the front arrangement a clear distribution of detail.

The pale pink photograph shows another part of the range held out to one side. Winding groups of flowers become visible across a larger section, with narrow border lines running beneath them. That view helps explain the artwork’s spacing. For the dark version, a plain dark garment could make the floral groups the main lighter elements in the outfit. A cream garment would separate the entire triangle more distinctly. The feature worth following is where the floral decoration begins in relation to the calmer area around the face.

Elea: larger pink flowers within a strong frame

Elea’s pale lead example brings pink flower clusters and green leaves onto a light ground, with a strong pink perimeter. Some floral groups appear prominently near the side of the head, while a longer sequence runs through the hanging front. The pink border gives those organic shapes a more definite rectangular framework.

The magenta scarf beside it uses much smaller pale blossoms distributed through a stronger coloured field. Hanami’s folded-scarf chart shows further differences within the collection, including geometric and finely patterned versions. A green garment could draw out the leaves; a quiet cream layer would allow both the leaves and pink clusters to stay visible without another large colour field nearby. The design’s character comes from the relationship between those relatively substantial flower groups and the clear pink frame, rather than from the colour pink alone.

Ornament, layered borders and changes of scale

Rawdah: decoration organised into repeated cells

Rawdah’s dark photographed example places detailed ornament inside repeated geometric cells. Each cell has its own floral or rosette-like centre, while smaller lines separate it from its neighbours. Across the larger front triangle, several units can be seen together, producing a structured field of decoration rather than a loose scattering of flowers.

The pale blue-and-pink example gives more emphasis to its outside bands. Its broad blue perimeter is much quieter than the fine pattern enclosed within it. Both views reward attention to the boundary between the repeated centre and its frame. A plain dark garment could support the darker version’s detailed cells; a light blue garment could continue the other version’s outer band. Hanami’s description connects Rawdah with Islamic artistry; that is the maker’s stated inspiration for the collection. The photographs show fine ornament divided into individual cells enclosed by broad bands.

Ayasofya: small repeats and several ornamental bands

The closer Ayasofya photographs show small floral repeats inside fairly broad decorative frames. In the blue example, the central marks remain light and delicate, while several narrower ornamental bands collect near the outside. A larger pale strip then separates the detailed print from the garment beneath it. The edge is built from several zones of different density.

The pink and warm beige versions change the palette while retaining that interest in framing. For someone drawn to a quieter central field, the blue example offers a useful reference: there is detail close to the face without one oversized flower occupying it. A pale blue garment would continue the lighter colour; warm beige would pick up the softer tones within the border. The paired photographs make those small differences easier to follow, particularly where the decorative bands turn towards the lower point of the scarf.

Grizelle: dense curling lines against darker cloth

The blue Grizelle in Hanami’s lead pair combines densely drawn, gold-toned curls with a wine-coloured outer band. The ornament fills much of the visible front section, while the colour around the crown is more contained. Its companion uses dark brown and black, bringing the curling decoration much closer in tone to the surrounding cloth.

Those two versions offer a useful choice between conspicuous contrast and a quieter ornamental surface. The blue-and-wine example connects two substantial colour areas, so a plain navy garment could continue one of them without introducing another competing field. In the darker version, a light garment would make the scarf’s overall outline clearer while leaving its internal detail relatively subdued. The gold-toned printed curls give the blue example another colour to draw out through a small accessory, if you want to repeat the ornament’s warmer tone.

Supernova Raya: a scalloped-looking division before green

One Supernova Raya photograph uses tiny red floral marks across a cream ground, ending in a more concentrated red zone with a scalloped-looking boundary. Beyond that boundary sits a broad green band. The change is pronounced: a finely patterned field meets a shaped red division, then a much simpler block of colour.

The blue scarf in the lead pair has another arrangement, with larger muted botanical marks and multiple fine frame lines. The red-and-green example is especially informative if a strong perimeter is what attracts you. A green garment could continue that outside band, while cream would bring the clothing closer to the centre of the scarf. The scalloped effect belongs to the printed boundary visible in the photograph; it does not show that the physical edge is scalloped. The chosen effect is an internal line in the artwork, followed by a plain outer section.

Delayla: a richly filled centre inside a broad quiet edge

The warm beige Delayla in Hanami’s lead photograph carries many small, curling, paisley-like marks in pink, blue and muted gold tones. They form a dense central area, surrounded by a noticeably quieter beige strip. The contrast is between detailed drawing and comparatively unbroken cloth, as much as between individual colours.

The darker companion uses smaller scattered flowers and a deep outer edge. Another warm-toned photograph introduces looser leaf-like marks, demonstrating the range’s variety. The beige example could interest someone who wants extensive ornament but still enjoys a clear margin around it. A beige garment would continue the outside strip, giving the coloured drawing the main visual role. The broad front arrangement shown is useful because it reveals both the intricate centre and its calmer surround. A portrait cropped at the shoulders would communicate much less of that relationship.

Mekarea: a wavy ornamental line around small flowers

Mekarea’s brown photograph shows numerous small floral forms enclosed by a wavy ornamental line. Beyond that line is a plain, darker brown band. The border’s repeated curves are visible across the lower front, where the cloth is spread more widely. They supply a distinct outline between the dense flowers and the outer strip.

The pale companion in the paired image preserves a similar framed emphasis with a much lighter surrounding colour. For the brown example, the golden-beige clothing repeats some of the warmer tones in the flowers while leaving the dark perimeter apparent. This particular design is worth comparing through its border line rather than through the flowers alone. The little curves create a rhythm of their own around the central field, and they remain a separate detail from the straight physical edge of the square.

Vintessa: a fine centre inside several nested frames

Vintessa’s navy-and-pale paired photograph shows closely repeated flowers surrounded by several fine ornamental borders. On the pale version, the blue pattern sits inside a light outside strip; on the darker version, the perimeter becomes a much stronger navy area. That change in contrast gives the framed floral field a different emphasis.

The pink close photograph offers a quieter alternative, with pale ornamental marks and a broad light-mauve frame. Its inner lines become easier to notice where the long triangle lies flat across the front. A mauve garment could continue the outside band, while cream would separate the scarf more clearly. The feature to recognise is the succession of borders: the floral centre does not meet the outer strip in a single abrupt step. Several narrower lines sit between them. The layered perimeter distinguishes the pictured version as clearly as the flowers inside it.

For practical background on square and rectangular formats, see the Journal’s guide to the main types of hijab scarf.