The night before Eid, foldable seats line the sidewalks of lively British high streets from London to northern cities. Women sit side-by-side beneath shopfronts, hands outstretched as designers trace applicators of mehndi into complex designs. For £5, you can walk away with both palms blooming. Once confined to weddings and private spaces, this ancient tradition has expanded into community venues – and today, it's being reimagined completely.
In modern times, henna has travelled from domestic settings to the award shows – from celebrities showcasing Sudanese motifs at entertainment gatherings to musicians displaying henna decor at music awards. Modern youth are using it as creative expression, political expression and identity celebration. Online, the appetite is growing – online research for body art reportedly surged by nearly 5,000% last year; and, on social media, content makers share everything from imitation spots made with henna to quick pattern tutorials, showing how the dye has transformed to modern beauty culture.
Yet, for countless people, the relationship with body art – a paste packed into applicators and used to short-term decorate the body – hasn't always been straightforward. I remember sitting in salons in the Midlands when I was a young adult, my skin adorned with recent applications that my mother insisted would make me look "appropriate" for special occasions, marriage ceremonies or Eid. At the outdoor area, passersby asked if my little brother had drawn on me. After painting my hands with the paste once, a peer asked if I had winter injury. For a long time after, I hesitated to wear it, concerned it would attract unnecessary focus. But now, like numerous individuals of various ethnicities, I feel a stronger sense of confidence, and find myself wishing my palms adorned with it more often.
This concept of reembracing cultural practice from traditional disappearance and misuse resonates with designer teams redefining henna as a valid aesthetic practice. Founded in 2018, their designs has decorated the hands of singers and they have collaborated with fashion labels. "There's been a community transformation," says one artist. "People are really proud nowadays. They might have encountered with racism, but now they are returning to it."
Natural dye, derived from the Lawsonia inermis, has stained the body, textiles and strands for more than countless centuries across Africa, the Indian subcontinent and the Middle East. Early traces have even been uncovered on the remains of ancient remains. Known as mehndi and additional terms depending on region or language, its purposes are vast: to reduce heat the person, stain mustaches, celebrate married couples, or to simply decorate. But beyond appearance, it has long been a channel for social connection and personal identity; a method for people to assemble and openly display tradition on their skin.
"Body art is for the all people," says one practitioner. "It emerges from common folk, from rural residents who grow the plant." Her associate adds: "We want individuals to understand mehndi as a respected art form, just like calligraphy."
Their work has been displayed at benefit gatherings for humanitarian efforts, as well as at diversity festivals. "We wanted to make it an inclusive space for each person, especially queer and gender-diverse people who might have encountered excluded from these practices," says one designer. "Body art is such an personal experience – you're entrusting the designer to attend to a section of your body. For LGBTQ+ individuals, that can be stressful if you don't know who's reliable."
Their approach mirrors the art's adaptability: "Sudanese henna is different from Ethiopian, Asian to south Indian," says one practitioner. "We tailor the patterns to what each person connects with most," adds another. Customers, who range in generation and heritage, are prompted to bring unique ideas: accessories, writing, textile designs. "Instead of imitating online designs, I want to give them possibilities to have body art that they haven't seen before."
For multidisciplinary artists based in different countries, cultural practice associates them to their heritage. She uses natural dye, a organic dye from the jenipapo, a natural product indigenous to the Americas, that dyes deep blue-black. "The darkened fingertips were something my grandmother regularly had," she says. "When I showcase it, I feel as if I'm embracing adulthood, a sign of elegance and refinement."
The artist, who has garnered attention on digital platforms by displaying her stained hands and personal style, now frequently wears body art in her daily routine. "It's important to have it apart from celebrations," she says. "I perform my Blackness regularly, and this is one of the methods I achieve that." She describes it as a declaration of personhood: "I have a symbol of where I'm from and my identity right here on my hands, which I utilize for each activity, daily."
Administering the dye has become reflective, she says. "It encourages you to stop, to sit with yourself and connect with individuals that preceded you. In a world that's perpetually busy, there's pleasure and relaxation in that."
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