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Cordelia: a Story of Survival
When war came to my doorstep, I packed my sewing machine and serger, leaving behind my studio, my village, and the life I had built. What I carried with me wasn’t just tools, it was a promise to myself: I would create again.
My name is Sara Rammal, and I am a twenty-two year old content creator and artist. I grew up in Odaisseh, a small village in South Lebanon, on the border of occupied Palestine. Everything I created was inspired by the environment around me, my village, my culture, and my history.


THE PAST
Growing up, I spent my days capturing the beauty of life in the South through photographs. I liked taking photos of myself between flowers, experimenting with props and scenery, but fashion was far from my mind. I didn’t care much about clothes until I turned seventeen.
At the time, I worked at a small phone shop. It wasn’t much, but for my teenage self, it was a good way to save money. One day, I decided to transform my wardrobe to something that matched my personality. I didn’t like the fast fashion pieces that were around; I craved timeless pieces, earthy tones, and things that felt like me.
While searching the Beiruti shops, I stumbled upon a fabric store. Without hesitation, I spent my entire savings on five large bags of fabric. I had no sewing machine, no skills, and no plan— just the determination to create something of my own. I borrowed my grandmother’s sewing machine and began teaching myself how to sew through YouTube tutorials. Piece by piece, I built my wardrobe, experimenting with patterns and learning the art of design. It took me two years to master my craft. During that time, I discovered a love for fashion design that I never knew existed.
I started sharing my creations on Instagram and to my surprise, people loved my designs and some even asked to buy them. I didn’t have the resources to take that step yet— I didn’t feel ready and I lacked the budget for better machines and fabrics.
CORDELIA
At ninteen, I attended an arts and crafts class offered by an NGO in Nabatiyeh, Lebanon. At first, I thought it was just another class, but as I listened to the stories of others turning their passions into businesses, something clicked. I realized I already had the skills, the creativity, and even the clients. All I needed was the confidence and resources to start.
When I told the class that I had made the outfit I was wearing—a sage green corset over an angelic white shirt— they were stunned. I began developing a brand inspired by my love for the “cottage core” aesthetic.
I named my brand Cordelia, after a fictional character from my favorite series, Anne with an E. Anne used to dress up and pretend to be Princess Cordelia to escape her struggles, finding solace in the power of imagination. For me, fashion served the same purpose; it allowed me to escape, to dream, to feel free.
I won that class’ competition in first place. And after getting the funding I needed, Cordelia was born. I created made-to-order dresses and shirts—each piece carrying a part of my soul. People were willing to wait months for my creations, and I poured my heart into every stitch.
THE WAR ON SOUTH
Just as I began to see my dreams take flight, life in Lebanon reminded me of how quickly it can unravel. In October 2023, things changed.
War started, and I was watching and hearing missiles pass by above my home. The life I had carefully built started tearing apart. For my safety and education, I moved to Beirut, leaving behind my home, my studio, and most of my supplies. I could bring only one sewing machine, a serger, and some fabrics. I was preparing for a tote bag collection but I had to leave everything behind.
Instead of sharing aesthetic posts on Instagram, my page became a platform to document the war. I posted in English, hoping to raise awareness about what was happening in both my country and in Gaza as well.
In December, bombs struck near the place my parents were seeking shelter. For the first time since the beginning of the war, they left our village and joined me in Beirut.
I stopped sewing entirely. I couldn’t bring myself to create when everything felt so uncertain. I didn’t have the space nor my equipment. I shifted my focus to media work, learning new skills and surviving day by day. My wardrobe of skirts and dresses was replaced with survival mode clothing: anything that I could evacuate in should something happen. It was a bonus if it was something I could both sleep and go out in.
THE WAR ON LEBANON
For 66 days, Israel bombed every part of this country. During the full scale war on Lebanon, I was living in survival mode. We escaped the southern suburbs of Beirut and went to a house in Mount Lebanon with all my extended family. During that time, I filmed, volunteered, and interviewed people, documenting the human impact of war. I even reached out to people for jobs to keep myself busy and avoid the reality of things. When a ceasefire was announced, we went back to Beirut. We couldn’t go back to my village, 80% of the houses in Odaisseh were bombed, trees were burned, and Israeli forces are still on my land.
THE PRESENT
If war taught me anything it’s that I don’t have to wait for things to be perfect. Life doesn’t pause for anyone, and it’s important to choose your dreams despite the uncertainty.
I found a small apartment in Beirut, a space that I’m renovating to become both my own home and a studio for Cordelia. It will be a place to sew, to dream, and to create. I don’t have all the funds or resources I need yet, but I’m determined to make it work.
Like Anne, I created Cordelia as a way to dream beyond my struggles. Today, it’s not just an escape— it’s my resistance— a stitch of hope in a fractured world. Through my brand, I want to bring beauty into the world, not just for myself, but for others who need it too. I’m designing again, planning collections, and imagining a future where Cordelia reaches people across the globe.
THE FUTURE
The scars of war will always remain, but so will my passion. I’ve lost loved ones, friends, and places that meant the world to me. My village may never be the same, but I carry its strength within me.
Cordelia is more than a brand, it has become a symbol of survival, of creativity in the face of destruction, and the belief that beauty can bloom even in the harshest conditions.
This is not just my story. It’s the story of countless artists who refuse to let war define them. And as I sew the first stitch in my new studio, I know this is only the beginning.


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Ridikkuluz
{
"article":
{
"title" : "Cordelia: a Story of Survival",
"author" : "Sara Rammal",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/cordelia-story-of-survival",
"date" : "2025-02-04 15:32:00 -0500",
"img" : "https://everythingispolitical.com/uploads/cordelia-3.jpg",
"excerpt" : " When war came to my doorstep, I packed my sewing machine and serger, leaving behind my studio, my village, and the life I had built. What I carried with me wasn’t just tools, it was a promise to myself: I would create again.",
"content" : " When war came to my doorstep, I packed my sewing machine and serger, leaving behind my studio, my village, and the life I had built. What I carried with me wasn’t just tools, it was a promise to myself: I would create again. My name is Sara Rammal, and I am a twenty-two year old content creator and artist. I grew up in Odaisseh, a small village in South Lebanon, on the border of occupied Palestine. Everything I created was inspired by the environment around me, my village, my culture, and my history.THE PASTGrowing up, I spent my days capturing the beauty of life in the South through photographs. I liked taking photos of myself between flowers, experimenting with props and scenery, but fashion was far from my mind. I didn’t care much about clothes until I turned seventeen.At the time, I worked at a small phone shop. It wasn’t much, but for my teenage self, it was a good way to save money. One day, I decided to transform my wardrobe to something that matched my personality. I didn’t like the fast fashion pieces that were around; I craved timeless pieces, earthy tones, and things that felt like me.While searching the Beiruti shops, I stumbled upon a fabric store. Without hesitation, I spent my entire savings on five large bags of fabric. I had no sewing machine, no skills, and no plan— just the determination to create something of my own. I borrowed my grandmother’s sewing machine and began teaching myself how to sew through YouTube tutorials. Piece by piece, I built my wardrobe, experimenting with patterns and learning the art of design. It took me two years to master my craft. During that time, I discovered a love for fashion design that I never knew existed.I started sharing my creations on Instagram and to my surprise, people loved my designs and some even asked to buy them. I didn’t have the resources to take that step yet— I didn’t feel ready and I lacked the budget for better machines and fabrics.CORDELIAAt ninteen, I attended an arts and crafts class offered by an NGO in Nabatiyeh, Lebanon. At first, I thought it was just another class, but as I listened to the stories of others turning their passions into businesses, something clicked. I realized I already had the skills, the creativity, and even the clients. All I needed was the confidence and resources to start.When I told the class that I had made the outfit I was wearing—a sage green corset over an angelic white shirt— they were stunned. I began developing a brand inspired by my love for the “cottage core” aesthetic.I named my brand Cordelia, after a fictional character from my favorite series, Anne with an E. Anne used to dress up and pretend to be Princess Cordelia to escape her struggles, finding solace in the power of imagination. For me, fashion served the same purpose; it allowed me to escape, to dream, to feel free.I won that class’ competition in first place. And after getting the funding I needed, Cordelia was born. I created made-to-order dresses and shirts—each piece carrying a part of my soul. People were willing to wait months for my creations, and I poured my heart into every stitch.THE WAR ON SOUTHJust as I began to see my dreams take flight, life in Lebanon reminded me of how quickly it can unravel. In October 2023, things changed.War started, and I was watching and hearing missiles pass by above my home. The life I had carefully built started tearing apart. For my safety and education, I moved to Beirut, leaving behind my home, my studio, and most of my supplies. I could bring only one sewing machine, a serger, and some fabrics. I was preparing for a tote bag collection but I had to leave everything behind.Instead of sharing aesthetic posts on Instagram, my page became a platform to document the war. I posted in English, hoping to raise awareness about what was happening in both my country and in Gaza as well.In December, bombs struck near the place my parents were seeking shelter. For the first time since the beginning of the war, they left our village and joined me in Beirut.I stopped sewing entirely. I couldn’t bring myself to create when everything felt so uncertain. I didn’t have the space nor my equipment. I shifted my focus to media work, learning new skills and surviving day by day. My wardrobe of skirts and dresses was replaced with survival mode clothing: anything that I could evacuate in should something happen. It was a bonus if it was something I could both sleep and go out in.THE WAR ON LEBANONFor 66 days, Israel bombed every part of this country. During the full scale war on Lebanon, I was living in survival mode. We escaped the southern suburbs of Beirut and went to a house in Mount Lebanon with all my extended family. During that time, I filmed, volunteered, and interviewed people, documenting the human impact of war. I even reached out to people for jobs to keep myself busy and avoid the reality of things. When a ceasefire was announced, we went back to Beirut. We couldn’t go back to my village, 80% of the houses in Odaisseh were bombed, trees were burned, and Israeli forces are still on my land.THE PRESENTIf war taught me anything it’s that I don’t have to wait for things to be perfect. Life doesn’t pause for anyone, and it’s important to choose your dreams despite the uncertainty.I found a small apartment in Beirut, a space that I’m renovating to become both my own home and a studio for Cordelia. It will be a place to sew, to dream, and to create. I don’t have all the funds or resources I need yet, but I’m determined to make it work.Like Anne, I created Cordelia as a way to dream beyond my struggles. Today, it’s not just an escape— it’s my resistance— a stitch of hope in a fractured world. Through my brand, I want to bring beauty into the world, not just for myself, but for others who need it too. I’m designing again, planning collections, and imagining a future where Cordelia reaches people across the globe.THE FUTUREThe scars of war will always remain, but so will my passion. I’ve lost loved ones, friends, and places that meant the world to me. My village may never be the same, but I carry its strength within me.Cordelia is more than a brand, it has become a symbol of survival, of creativity in the face of destruction, and the belief that beauty can bloom even in the harshest conditions.This is not just my story. It’s the story of countless artists who refuse to let war define them. And as I sew the first stitch in my new studio, I know this is only the beginning."
}
,
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{
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"author" : "EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/black-liberation-on-palestine",
"date" : "2025-10-17 09:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/mandela-keffiyeh.jpg",
"excerpt" : "",
"content" : "In understanding global politics, it is important to look at Black liberation struggles as one important source of moral perspective. So, when looking at Palestine, we look to Black leaders to see how they perceived the Palestinian struggle in relation to theirs, from the 1960’s to today.Why must we understand where the injustice lies? Because, as Desmond Tutu famously said, “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”{% for person in site.data.quotes-black-liberation-palestine %}{{ person.name }}{% for quote in person.quotes %}“{{ quote.text }}”{% if quote.source %}— {{ quote.source }}{% endif %}{% endfor %}{% endfor %}"
}
,
{
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"author" : "EIP Editors",
"category" : "events",
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"img" : "https://everythingispolitical.com/uploads/WSA_EIP_Launch_Cover.jpg",
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{
"title" : "Miu Miu Transforms the Apron From Trad Wife to Boss Lady: The sexiest thing in Paris was a work garment",
"author" : "Khaoula Ghanem",
"category" : "",
"url" : "https://everythingispolitical.com/readings/miu-miu-transforms-the-apron-from-trad-wife-to-boss-lady",
"date" : "2025-10-14 13:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_MiuMiu_Apron.jpg",
"excerpt" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.",
"content" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.From the opening look—German actress Sandra Hüller in a utilitarian deep-blue apron layered over a barn jacket and neat blue shirting—the thesis was loud: the “cover” becomes the thing itself. As silhouettes marched on, aprons multiplied and mutated—industrial drill cotton with front pockets, raw canvas, taffeta and cloqué silk, lace-edged versions that flirted with lingerie, even black leather and crystal-studded incarnations that reframed function as ornament. What the apron traditionally shields (clothes, bodies, “the good dress”) was inverted; the protection became the prized surface. Prada herself spelled it out: “The apron is my favorite piece of clothing… it symbolizes women, from factories through to serving to the home.”Miu Miu Spring 2026 Ready-to-Wear. SuppliedThis inversion matters historically. The apron’s earliest fashion-adjacent life was industrial. It served as a barrier against grease, heat, stain. It was a token of paid and unpaid care. Miu Miu tapped that lineage directly (canvas, work belts, D-ring hardware), then sliced it against domestic codes (florals, ruffles, crochet), and finally pushed into nightlife with bejeweled and leather bibs. The garment’s migration across materials made its social migrations visible. It is a kitchen apron, yes, but also one for labs, hospitals, and factories; the set and styling insisted on that plurality.What makes the apron such a loaded emblem is not just what it covers, but what it reveals about who has always been working. Before industrialization formalized labor into factory shifts and wages, women were already performing invisible labour, the kind that doesn’t exist on payrolls but sits at the foundation of every functioning society. They were cooking, cleaning, raising children, nursing the ill. These tasks were foundational to every economy and yet absent from every ledger. Even when women entered the industrial workforce, from textile plants to wartime assembly lines, their domestic responsibilities did not disappear, they doubled. In that context, the apron here is a quiet manifesto for the strength that goes unrecorded, unthanked, and yet keeps civilization running.The algorithmic rise of the “tradwife,” the influencer economy that packages domesticity as soft power, is the contemporary cultural shadow here. Miu Miu’s apron refuses that rehearsal. In fact, it’s intentionally awkward—oversized, undone, worn over bikinis or with sturdy shoes—so the viewer can’t flatten it into Pinterest-ready nostalgia. Critics noted the collection as a reclamation, a rebuttal to the flattening forces of the feed: the apron as a uniform for endurance rather than submission. The show notes framed it simply as “a consideration of the work of women,” a reminder that the invisible economies of effort—paid, unpaid, emotional—still structure daily life.If that sounds unusually explicit for a luxury runway, consider the designer. Prada trained as a mime at Milan’s Piccolo Teatro, earned a PhD in political science, joined the Italian Communist Party, and was active in the women’s rights movement in 1970s Milan. Those facts are not trivia; they are the grammar of her clothes. Decades of “ugly chic” were, essentially, a slow campaign against easy consumption and default beauty. In 2026, the apron becomes the newest dialect. An emblem drawn from leftist feminist history, recoded into a product that still has to sell. That tension—belief versus business—is the Miuccia paradox, and it’s precisely why these aprons read as statements, not trends.The runway narrative traced a journey from function to fetish. Early looks were squarely utilitarian—thick cottons, pocketed bibs—before migrating toward fragility and sparkle. Lace aprons laid transparently over swimmers; crystal-studded aprons slipped across cocktail territory; leather apron-dresses stiffened posture into armor. The sequencing proposed the same silhouette can encode labor, intimacy, and spectacle depending on fabrication. If most brands smuggle “workwear” in as set dressing, Miu Miu forced it onto the body as the central garment and an unmissable reminder that the feminine is often asked to be both shield and display at once.It’s instructive to read this collection against the house’s last mega-viral object: the micro-mini of Spring 2022, a pleated, raw-hem wafer that colonized timelines and magazine covers. That skirt’s thesis was exposure—hip bones and hemlines as post-lockdown spectacle, Y2K nostalgia framed as liberation-lite. The apron, ironically, covers. Where the micro-mini trafficked in the optics of freedom (and the speed of virality), the apron asks about the conditions that make freedom possible: who launders, who cooks, who cares? To move from “look at me” to “who is working here?” is a pivot from optics to ethics, without abandoning desire. (The aprons are, after all, deeply covetable.) In a platform economy that still rewards the shortest hemline with the biggest click-through, this is a sophisticated counter-program.Yet the designer is not romanticizing toil. There’s wit in the ruffles and perversity in the crystals; neither negate labor, they metabolize it. The most striking image is the apron treated as couture-adjacent. Traditionally, an apron protects the precious thing beneath; here, the apron is the precious thing. You could call that hypocrisy—luxurizing the uniform of workers. Or, strategy, insisting that the symbols of care and effort deserve visibility and investment.Of course, none of this exists in a vacuum. The “tradwife” script thrives because it is aesthetically legible and commercially scalable. It packages gender ideology as moodboard. Miu Miu counters with garments whose legibility flickers. The collection’s best looks ask viewers to reconcile tenderness with toughness, convenience with care, which is exactly the mental choreography demanded of women in every context from office to home to online.If you wanted a season-defining “It” item, you’ll still find it. The apron is poised to proliferate across fast-fashion and luxury alike. But the deeper success is structural: Miu Miu re-centered labor as an aesthetic category. That’s rarer than a viral skirt. It’s a reminder that clothes don’t merely decorate life, they describe and negotiate it. In making the apron the subject rather than the prop, Prada turned a garment of service into a platform for agency. It’s precisely the kind of cultural recursion you’d expect from a designer shaped by feminist politics, who never stopped treating fashion as an instrument of thought as much as style.The last image to hold onto is deceptively simple: a woman in an apron, neither fetishized nor infantilized, striding, hands free. Not a costume for nostalgia, not a meme for the feed, but a working uniform reframed, respected, and suddenly, undeniably beautiful. That is Miu Miu’s provocation for Spring 2026: the work behind the work, made visible at last."
}
]
}