TEHRAN – Pateh, a traditional embroidered handicraft deeply rooted in the history and cultural identity of Iran’s Kerman province, has the potential to become a recognized global brand if commercialization, branding and market development are strengthened, a provincial handicrafts official said.

“Pateh is not merely a handicraft product, but a rooted art that is intertwined with the history and culture of Kerman and reflects an important part of the province’s cultural and artistic heritage,” Kerman’s deputy handicrafts chief Gholamreza Farrokhi said.

The official added that the craft has been passed down through generations within families and local communities, with this continuity playing an important role in preserving its authenticity and ensuring its cultural reproduction.

Pateh is a hand-stitched art form largely based on the skills and creativity of women in Kerman. Farrokhi said supporting the craft could help generate income for families, strengthen the local economy and expand home-based employment.

He stressed the need to give greater attention to the commercialization of Pateh while preserving its authenticity and quality. Market-oriented designs, professional packaging, standardization, marketing and the creation of sales networks could increase the added value of Pateh products and strengthen the livelihoods of artisans, he said.

Professional and targeted branding is also essential for promoting Pateh nationally and internationally, Farrokhi added. A distinctive visual identity, a clear narrative, a credible trademark and an appropriate marketing strategy could make the craft more recognizable in target markets and facilitate its entry into international markets.

“Pateh of Kerman has the potential to become a well-known brand,” he said, adding that artisans, economic operators, private-sector companies and specialized handicraft organizations could work together to establish an integrated production, distribution and export chain.

Farrokhi cautioned that expanding the Pateh market should not come at the expense of its authenticity. The goal, he said, should be to balance preservation of the craft’s identity with contemporary market demands by maintaining traditional characteristics while developing diverse and functional products suited to modern consumers.

He also called for greater promotion of Pateh through specialized exhibitions, cultural events and target markets, as well as through e-commerce and new media. Stronger links between artisans and commercial operators, along with improved packaging and presentation, could further raise awareness of the craft in domestic and international markets.

Pateh Douzi, in which colorful stitches cover much of the surface of a textile, is among Kerman’s best-known traditional handicrafts and souvenirs.

Because textiles are vulnerable to deterioration, few ancient Pateh pieces have survived. However, accounts and travel documents dating to the Safavid era indicate that the craft was practiced in Kerman at the time. One of the oldest surviving examples, dating to around 1869, was used as a cover for the tombstone of Shah Nematollah Vali, the Persian Sufi master and poet who lived in the 14th and 15th centuries.

Farrokhi described Pateh as a “living heritage” that connects Kerman’s past with the present and future, saying intelligent branding and commercialization could help transform the traditional art from a valued local craft into a product with a recognizable international identity.

AM