Subcontinent treasure: in age of mechanisation, the Kashmiri shawl looks to stand out

In the history of the global economy, the Kashmiri shawl provides an important reminder of the historical dominance of our subcontinent, particularly in the production of courtly textiles.

The industry, now replete with mechanisation, rapidly changing fashion trends, and a general lack of awareness among the next generation of customers, has still managed to retain the attention of those cognizant of its value and willing to invest in the indigenous crafts of our subcontinent.

Widely known in everyday vernacular as a pashmina, it is crafted from the natural shedding of the ibex goat, or the more unique and now widely-banned shahtoosh—the latter in particular is an especially high-value shawl, produced with wool from the chiru, or Tibetan antelope.

Hailing from one of the most illustrious family of craftsmen in Indian-occupied Srinagar, Kashmir, Syed Mohsin Shah, a shawl trader, traces his ancestry to Mir Syed Ali Hamdani who migrated from Hamdan, Iran, bringing along the knowledge of weaving and embroidering shawls.

His establishment, called the Shah Arts Emporium, today comprises 100 such master craftsmen who weave and finely embroider shawls through the course of the year. The origin of this handicraft can be traced to 13th century Kashmir, where a cottage industry of crafts was born.

“I feel responsible for the history and craft of my ancestors, and consider it a social responsibility,” Shah told Business Recorder during an exclusive interview in Karachi as he talked at length on the need to preserve the art.

The history he speaks of is the industry his family brought with them when they migrated with 1,700 masterful artisans. Originating from Sufi saints, they noted the poverty and a lack of industry within the community, which pushed them to set up a variety of skilled trades they were adept at such as carpet weaving, shawl weaving, wood carving, and paper mâché.

“My family specialised in shawls, another in carpet weaving and so an entire industry of crafts was born. Around 8 to 10 families picked a specific workmanship that still continues today.”

Historically, it was customary in Muslim societies for luxury textiles to act as signifiers of rank and status.

Rulers gifted these shawls as a mark of excellent service, great achievement, or royal favour. Known as khilat, the tradition was well established in the Mughal Empire at the time of Akbar and, according to reports, became one of the main drivers of demand for the Kashmir shawl industry at that time.

These handcrafted things that are a part of our history will be considered antiques 100 years from now. We will then look at them in museums: Syed Mohsin Shah

“These handcrafted things that are a part of our history will be considered antiques 100 years from now. We will then look at them in museums. For example, at the moment, a 200-year-old antique pashmina shawl is currently displayed at the Victoria and Albert Museum in London,” shares Shah.

What makes these shawls so unique then is the skill, labour, and expertise it constitutes.

“This work is generational,” Shah explains. “It is passed down from father to son. From childhood, young children learn their father’s craft. There are no schools for it. It is a cottage industry, where the next generation becomes a master of his craft.

“The pace at which fashion is evolving, my assessment is that we will not be able to produce such fine, detailed handcrafted items anymore, simply because we are unable to sell it,” he explains.

“Younger generations do not have the knowledge or appreciation for this craftsmanship—they prefer to buy branded bags, watches and garments instead.”

Hence, a traditional industry like theirs has had to adapt in order to keep up with changing fashion trends, tastes and lack of awareness about the value of this craft.

“Fashion, of course, is fluid,” says Shah. “Younger generations prefers wearing trousers and dresses as compared to saris and shalwar kameez. We have therefore, recalibrated and begun producing stoles and scarves also. These are all ways to keep the craft alive.”

The various kinds of shawls currently being produced is on a pashmina fabric. The raw material for a shahtoosh is hard to come by and maybe comprises 10% of their entire production process. The price of those too, is considerably higher.

In recent years, brands like Andraab have begun trying to revive interest in handcrafted goods, creating a new identity and forming new markets for these heritage pieces. This brand employs 200 artisans, applying centuries-old techniques to contemporary patterns, reported Vogue India.

The New York Times has stated: “Andraab produces cashmere shawls that will remind you why Mughal rulers from the 16th to 18th centuries were so fond of collecting these luxurious textiles.”

The above seems to be one way in which the traditional shawl industry can survive moving forward.

The value of these items is deciphered by a number of factors.

Firstly the quality of the woven fabric—whether it’s a pashmina or blended with a finer substance like shahtoosh in the weave which drives up the cost.

Then there is the embroidery on it—for example, some master artisans will be able to embroider shawls such that the thread visible on the other side will also form a pattern, turning it into a Do Rukha (reversible) shawl. Specific weaves such as the Kaani weave, discussed below, are known for its print-like quality, which only very experienced generational artisans can craft. Finally the size of the shawl and the time it takes to complete a piece also determine its value.

Types of embroidery:

Jamavaar: Woven on Pashmina fabric, these take up to 2-5 years to complete, depending on the design and intricacy of the embroidery. The prices range from Rs250,000 to Rs2 million.

Kaani weave: This variety is woven with wooden needles and dates back 200 years ago. “The British, during their occupation of India, were enamoured by the Kaani shawl”, explains Shah.

“The French queen who visited in the early 18th Century liked the Kaani Jamavar very much and commissioned it as courtly attire at that time, skirts for the women and a long cape for the men in the early 18th Century, when Maharaja Ranjit Singh ruled over Kashmir.

“At that time the shawls and fabrics were crafted in small patches and then joined together. as there was no handloom. They were made in Kanihama continuing for another 100 years,” explains Shah.

“Following a drought, the entire village and the community of artisans scattered, and the production of the Kaani stopped. After 200 years, we revived this handicraft, on a new loom and on a Pashmina material.”

“One of our specialties is preserving and reviving handicrafts, just as we have been able to do with the Kaani shawls, with new modern-day techniques. These shawls range from Rs250,000-900,000,” he explains.

Other varieties that are produced on Pashminas are Kalamkaars, Suikaar Jama and Do Ranga embroidery. Border embroidery, which is carried out in a classic design spanning 4 inches, takes 6 months to make. An extension of this is a Pashmina Jaal, which can take up to 1.5 years to produce and retails for Rs90,000-300,000.

Sozni shawls are also very unique as the embroidery is very fine. A Sozni Jama with silk thread embroidery takes 2-5 years to make. The time taken to make it mainly makes this variety very unique.

Made two ways, with cotton thread and with silk thread, The ones crafted in a silk thread are very unique as the work is so detailed that can be worn reversed also, making it a Do Rukha. These shawls range from Rs50,000 to 500,000.

Contemporary patterns such as checks and stripes have been incorporated according to current fashions, to be used as scarves even on Western clothes, including pashmina fabric that can be used to stitch suits with and wear as a sari.

“We export to the US, Europe, Hong Kong, and the response has been very good. We get great feedback and inspiration about new colour schemes from them and as a result try to expand our variety and create new products. It’s the customer essentially that lets us know what is usable and wearable,” Shah explains.

“Europeans appreciate embroidery as they used to produce their own also.”

The road ahead

Speaking about the current economic downturn Pakistan is experiencing, Shah explains how it is affecting production capacity.

“The devastation of the floods in 2014 wiped away 75% of our operation. From the remaining 20% production capacity, we have now reached at 50%. However, now due to inflation our raw materials have become more expensive along with wages.

“The younger generation is unwilling to spend this kind of time to produce handcrafted material, that too, for a lower wage than other industries. The IT industry or even labour jobs pay Rs800 per day as opposed to Rs300-400 in our industry. Today, at a time of high inflation and high cost of living, it’s not tenable.”

While he credited survival to employee retention, the next generation, however, has attained an education and is looking at other better-paying sectors.

“They are happy as it spells out a 9-5 instead of a 24-hour cycle,” Shah said.

The advent of machinery and production capacity are no doubt threatening this homegrown industry, as the lag time between products and capacity cannot be compared to an industrialised output.

“You’re already seeing it, pashmina shawls that are sold abroad, previously all used to all be handcrafted on a loom, are now made on machines in China.

“Eventually, if the entire industry becomes mechanised we will also have to switch over. Take the example of carpets produced in Turkey, Saudi Arabia and Iran. They are all mechanised.

“Our entire operation is manual.” Shah explains. “We spin the wool by hand on a charkha, make thread out of it, mount it on a khaddi, and weave on a handloom.”

Their raw material comes to them in March, from trusted long-time suppliers dating back 500 years ago. By June or July they complete spinning and weave in the winter months. The four months of heavy snowfall relegates the artisans indoors where they produce the shawls.

“The way to keep this craft alive is for people to keep appreciating it so that sales don’t dwindle. This is the only way to keep this industry thriving,” he concludes.