Hmong textile art (RPA:Paj ntau or Paj ntaub, or “flower cloth” in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community. For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included more subdued colors and the invention of a new form of paj ndau often referred to as “story cloths.” These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity.

Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and mens’ collars. The core visual elements of “layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses.” The use of border patterns may show the influence of Chinese embroidery techniques.