TODAY’S PAPER | August 30, 2026 | EPAPER

Olivia Rodrigo wears Palestinian tatreez embroidery dress at Daisy Chain Fields festival

Rodrigo's choice of the dress also comes amid her longstanding public advocacy for Palestinians


Pop Culture & Art August 30, 2026 2 min read
Photo: Daisy Chain Fields

Olivia Rodrigo has brought Palestinian craftsmanship into the spotlight, wearing a handmade dress by Palestinian fashion label Nöl Collective at the press presentation for her inaugural Daisy Chain Fields music festival in Irvine, California.

The Grammy-winning singer appeared in a pale pink custom mini dress featuring traditional Palestinian tatreez embroidery, with the hand-stitched design depicting birds and interconnected daisy chains. The details offered a fitting connection to the festival's name and its themes of solidarity, community and collective action.

Nöl Collective was founded by Palestinian-American designer Yasmeen Mjalli and is based in Ramallah. The label works with family-run sewing workshops, artisan studios and women's cooperatives across Palestine, incorporating traditional techniques including tatreez, handweaving and natural dyeing into its designs.

Rodrigo's choice of the Palestinian label also comes amid her longstanding public advocacy for Palestinians. In July 2025, the singer spoke out about the humanitarian crisis in Gaza, describing the suffering of civilians as "horrific and completely unacceptable" and expressing her support for humanitarian aid. She has continued to use her platform to highlight the experiences of children affected by conflict.

Earlier in 2026, Rodrigo also contributed a version of The Book of Love to the War Child UK charity project Help(2). The accompanying music video incorporated footage filmed by children in Gaza, Sudan, Ukraine and Yemen, with the project supporting children affected by war and conflict.

The fashion statement came as Rodrigo launched Daisy Chain Fields, a new one-day music festival created to bring women in music together while raising money and awareness for organisations supporting women and girls. Held at Great Park in Irvine on August 29, 2026, the festival was inspired in part by Sarah McLachlan's Lilith Fair, the influential women-led festival launched in 1997.

Rodrigo personally curated the lineup and invited many of the performers herself. The bill included Chappell Roan, Doechii, Mitski, The Breeders, Bikini Kill, Garbage, Santigold, Karen O and Stevie Nicks, with McLachlan also performing. The festival was designed to avoid the traditional competitive structure of major music events, with artists receiving equal billing and no overlapping performances.

The event also had a major philanthropic goal. Rodrigo announced that $10 million would be donated to 10 organisations working to improve the lives of women and girls, including Planned Parenthood, the National Women's Law Center, the Center for Reproductive Rights, Black Mamas Matter Alliance and Baby2Baby. The festival's net proceeds were also directed towards organisations supporting causes including reproductive rights, maternal health, mental health and protection from domestic violence.

The fundraising total grew even further during the festival when philanthropist Melinda French Gates announced an additional $10 million commitment through Pivotal Ventures, bringing the total raised for women's causes to $20 million.

Beyond the performances, Daisy Chain Fields featured nonprofit organisations, educational resources and activations designed to connect festivalgoers directly with the causes benefiting from the event. Rodrigo said the festival was created to celebrate what can happen when people come together to support one another, rather than simply functioning as another commercial music event.

For Rodrigo, the Palestinian-made dress added another layer of meaning to a festival built around women's voices, solidarity and social action. By choosing a garment made through Palestinian craftsmanship and decorated with tatreez, she placed a piece of Palestinian cultural heritage at the centre of one of her most significant new artistic projects while continuing a pattern of using her public platform to advocate for humanitarian causes.

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