The motifs are older than the cloth they are stitched on. The eight-pointed star, the cypress and the moon appear in Canaanite textiles and in mosaic floors across the Levant. They outlasted every power that came and went, waiting for a hand to carry them.

Over the long centuries that followed, the motifs moved from mosaic and stone into cloth. Embroidery became the daily work of village women - stitched onto the linen thobe, taught from mother to daughter. With each generation, the regional hands grew more distinct.

By the nineteenth century, those differences had transformed to identity. You could tell a woman's village by her dress - Bethlehem's chest panel couched in silk and gold, Ramallah's red cross-stitch on white linen, the dense geometric bands around Gaza. Dozens of villages, each with its own motifs and its own names for them.

A bride spent years before her wedding embroidering the dresses she would keep for the rest of her life, as her mother and grandmother had. The patterns came from the land her family farmed - grapevines, wheat, cypress, the birds overhead.

In 1948, more than four hundred Palestinian villages were destroyed. Over seven hundred thousand people were expelled from their homes. Those who reached camps in Gaza, the West Bank, Lebanon, and Jordan came with almost nothing. The embroidery came with them - the patterns, and the knowledge of which village each one belonged to.

In the camps, women from villages that weren’t previously connected by proximity now lived side by side, and so did their patterns. A Bethlehem motif appeared on a Galilee ground; a Hebron design on a dress made in Beirut. The separate dialects began to merge.

In 1965, Sameeha Khalil founded Inash al-Usra in al-Bireh - the first organisation to pay refugee women for their embroidery and to begin recording the patterns village by village.

In 2003, women in at-Tuwani, in the South Hebron Hills, formed a weaving cooperative. Many of their families had lost olive groves and homes to demolition. Embroidery was work they could do, and sell, without leaving the village.

In 2021, UNESCO added the art of Palestinian embroidery to its list of the intangible cultural heritage of humanity - formal recognition of a tradition that had survived more than seventy years of dispersal.

No Other Land, filmed in Masafer Yatta, the home of the cooperative, won the Academy Award for Best Documentary Feature. One of its directors, Basel Adra, is a co-founder of Resolute.

Every Resolute shoe carries a panel embroidered by the women of the Masafer Yatta cooperative, who are the majority shareholders, decision makers and owners of the company. Each shoe sold profits the cooperative directly. The motifs are the same ones stitched by the generations before them.