a result of this loss, the Hmong then codified their language and hid words as symbols in the Paj Ntaub designs sewn into the folds of skirts. Many scholars and researchers have attempted to decode the symbolism behind Paj Ntaub motifs, however, there is no consensus on a singular meaning behind any of the motifs because there are a variety of different names and interpretations attributed to the them throughout the Hmong diaspora. Although Paj Ntaub should not be understood strictly as a visual alphabet, many examples and interpretations of codified symbolism in Paj Ntaub exist. One example of this codified symbolism can be found in the Hmong cross, which appear in the form of singular or combined cross stitches, used in Paj Ntaub to decorate the White Hmong women's sailor collar on the back of her shirt called a dab tsho in the Hmong language RPA. An interpretation of this cross symbol is that it acts as a protective talisman for the back, which is considered the most vulnerable part of the body, against malevolent spirits. Other interpretations argue that the crosses don't inherently hold symbolic value but instead work together to form a larger Paj Ntaub design that, from afar, resembles eyes and can fool malevolent spirits into thinking that there are always a pair of eyes watching from the back. Story Cloth The most well-known form of modern Hmong embroidery is the story cloth. Hmong story cloths are often referred to as a form of Paj Ntaub but are aesthetically unique in the Hmong tradition in that they strongly feature elements of figurative representation and fragments of text (often in English) as well as more traditional geometric motifs and abstract symbolism. These distinct and creative embroideries are designed to present a legible narrative and the earliest examples tended to focus on refugee life, military occupation, and forced migration from Laos. Other examples depict popular Hmong folktales, creation stories, and historical accounts of traditional Hmong life and culture. Origins By most accounts, the first story cloths began to appear in the 1970s and were produced by Hmong women in refugee camps in Thailand and Laos. The precise origin of the story cloth and the rationale behind why Hmong women begin to deviate from the traditional geometric abstractions of Paj Ntaub is unclear. Scholarship has suggested several possible competing theories including the suggestion that refugee aid workers originally encouraged