The aim of this study is to examine the designs, techniques, and applications of “patterned needlework” in women’s trousers as depicted in the iconography of the Safavid, Zand, and Qajar periods. There are two research questions: How is the design and implementation of patterned needlework? What are the applications of patterned needlework in women’s overing comparing to the iconography? This study seeks to answer these questions through an analytical-descriptive method and a comparative approach. The results show that patterned needlework was conducted under two different designs. In the first variant which is known as “Naghshembroidery“, floral patterns are embroidered in a delicate geometrical way within oblique stripes, and by following the design of Mohrramat twill. Its main applications were in men’s vests, fabric wrappings, tablecloth, and women’s bags. Given the lower delicacy of needlework designs, another type of it emerged which was called “Mosayyaf”. The motifs include repeated sun and swastika as well as human and animal figures enclosed in geometric shapes. Based on the study of paintings, show that the applications of patterned needlework were in Safavid tight trousers as well as Mosayyaf needleworks on loose trousers in the Zand and early Qajar periods. The point in common between all iconographies is focus of important women and courtiers to embroidered trousers.