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Pashmina, popularly known as Cashmere, derives its name from the term ‘Pashm’, which refers to the exquisite undercoat of the Himalayan mountain goat, Chyangra (Capra hircus). These majestic creatures thrive at a staggering altitude of 12,000 feet above the sea level, inhabiting the secluded domains of the Tibetan Plateau nestled within the grandeur of the Himalayan expanse.
1. Changpas : Amidst the Ladakh’s cold desert expanse, nomadic Changpa rear the Pashmina goats in Changthang region in Kharnak, Rupshu, Demchok, Skakjung, and areas surrounding the Pangong Lake. The velvety fleece of the Pashmina goats stands as a testament to nature’s exquisite adaptation to rugged climes, fierce winds, and lofty altitudes. These goats thrive amidst grassy realms where mercury descends to the chilling embrace of below -20 degrees Celsius, their silken coats serving as both armour and refuge.
The delicate process of shearing Pashmina goats takes place at the onset of both summer and winter. During each shearing, a male goat produces a yield of 200 grams, while a female goat provides a bounty of 150 grams.
Kashmiri Pashmina fiber ranges from 12 to 14 microns in diameter, surpassing delicate fineness of human hair (around 75 microns) by approximately six-fold. To attain the GI tag, Pashmina fiber has to glide beneath the 16-micron threshold. However, according to the US standards, its diameter should be below the 20-micron mark.
The grazing pastures of Pashmina goat have shrunk. Due to the conflict with China along the Line of Actual Control (LAC), far-flung areas of Ladakh are no longer used for grazing.
As per official records, Ladakh’s verdant landscapes cradle a population of 40,000 Pashmina goats.
After cleaning the coarse hair following shearing, the ratio of acquiring Pashmina fibre to coarse hair is 30:70 or 35:65.
Pashmina is not wool but fibre.
Now Ladakh Society procures Pashmina from the local shepherds. Even industry stalwarts like Raymonds, along with their textile contemporaries, find themselves drawn to the allure of Pashmina, sourcing this precious fiber from the Ladakh Society. The Pashmina traders also acquire the precious fibre from Wool Exchange Hong Kong. The pursuit of Kashmiri Pashmina dealers for the precious fibre resonates far beyond the borders of Ladakh in the haunting beauty of Tibet and the untamed expanses of Mongolia where from they acquire fourfold more Pashmina fibre.
Kashmir’s Pashmina has already secured its coveted GI tag and, now, Ladakh’s Pashmina has also secured a GI tag.
2. Tibet Bakals: Hailing from the scenic lands of Kashmir, Tibet Bakals were Wanis (merchants) who were adept wholesalers engaged in the art of barter trade, procuring Pashmina fiber from Tibet.
3. Poohe Wanis: Retailers Poohe Wanis used to source the Pashmina fiber from Tibet Bakals.
4. Female Spinners: The female Kashmiri spinners emerged as artisans of refinement. They procured the Pashmina fiber with its coarser strands from Poohe Wanis. With unparalleled finesse, they meticulously cleansed the Pashmina fiber from the coarse hair. Employing a concoction of rice flour starch, they bestowed a gentle gleam upon the fiber, crafting it into remarkable strands, each spanning nine inches and composed of nine threads. Despite their dexterity, they earned just Rs 1 for every such exquisite thread spun, a compensation that remains unaltered even two decades afterwards. These female artisans would then return these resplendent Pashmina threads to the Poohe Wanis, completing the circle of craftsmanship and artistry.
5. Charka Maker: The charkas, upon which these women would weave their expertise into the refinement of Pashmina fiber, were masterfully crafted by a unique breed of wood artisans or carpenters, who understood the sacred dance between wood and thread.
6. Spindle Maker: The delicate spindles, encircling which the Pashmina thread would be lovingly arranged by the hands of female spinners, were brought to life by the skillful craftsmanship of iron smiths, forging both utility and beauty into these tools of creation.
7. Potter: With hands touched by artistry, the potter would mold vessels known as Dogur and Prout, containers embraced by the women spinners as they weave the Pashmina fiber, a seamless union of clay and skill, yielding the threads of tradition.
8. Jandgor: The Jandgor used to acquire the coarse hairs that the female spinners meticulously separated from the Pashmina fiber.
9. Purkemburs: The Purkemburs held the secret to a transformative touch. They would tenderly bestow upon the Pashmina fiber a gentle starch treatment, orchestrating an alchemical change. This meticulous process rendered the warp fiber elegantly substantial while coaxing the weft to embrace a delicate fineness, thereby birthing an enchanting interplay of textures.
10. Barangars: Barangars would mount the Pashmina fibre threads on the loom.
11. Woaver or Weavers: There are two types of woaver or weavers – those who conjure the exquisite Pashmina shawls and those who breathe life into the intricate Kani shawls. While the Pashmina shawl weavers work on a handloom with a shuttle, Kani shawl weavers carve magic while wielding wooden needles (Kani) as their instruments of artistry.
12. Handmade Paper Manufacturer: The intricate language of Kani shawl design finds its timeless script upon the canvas of handmade paper, a medium painstakingly crafted by the hands of skilled artisans dedicated to the art of papermaking.
13. Purzgar: The Purzgar would clip the unwanted threads on the loom with clippers for the finesse. They would also brush the Shawl with cobs or Ridge Gourd (Tarela) to remove the undesirable threads.
14. Moikash: The Moikash used to remove the unwanted hairs and adjust the threads of the shawl accordingly. The Moikash would also be responsible for making the shawl a “loose weave” or a “tight weave”. A “loose weave” shawl would consume 150 gm Pashmina fibre and be used by the ladies. A “tight weave” shawl would consume 200 to 220 gm Pashmina fibre and be around 1 metre to 2 metre. The gents shawls are only “tight weaves” that consume around 350 gm Pashmina fibre.
15. Dhob or Dry Cleaner: Dhob, the skilled artisan at the dry cleaning establishment would delicately cleanse the shawl, meticulously eliminating any traces of greasing material. Employing the pristine waters of the River Jhelum and the gentle touch of a mild ‘Raita’ soap, these craftsmen would bestow upon the shawls a tender caress, imbuing them with a softening allure.
16. Bedab: The purveyors of hues, known as Bedab, once traded in vibrant dyes. Originally Ganis, Bedab left an indelible mark on dying in Kashmir.
17. Rangur or Dyer: Rangur, the adept colourist would meticulously imbue the shawls with chosen hues, employing a palette of natural or chrome dyes, creating a symphony of single or multi-toned splendour.
18. Naqash: A master artisan, Naqash adept at creating elaborate patterns for shawl embroidery are entrusted with fashioning the very designs that adorn these exquisite fabric artworks.
19. Chitgar: The meticulous artisan entrusted with the task of delicately tracing the intricate masterpiece crafted by a Naqash, thus giving life to the enchanting embroidery designs that grace Kashmiri Shawls.
20. Gilkar: Gilkar, the skilled carpenters are dedicated to crafting wooden blocks that bring to life the meticulously fashioned Naqsh or designs created by the Naqashs for fashioning Kashmiri shawls.
21. Thread retailer: Situated in Bohri Kadal in the heart of Srinagar downtown, thread retailers would offering a treasure trove of threads destined for embroiders for weaving magic on Kashmiri shawls.
22. Embroiderer: Wielding cotton or silk threads, this artist of needle and conjures enchanting patterns upon the canvas of the shawl, weaving magic. These threads, whether dyed or left in their natural hue, become the essence of their artistry.
23. Wuste: Wuste is the maestro orchestrating the entirety of the shawl’s production journey with consummate expertise.
24. Supervisor: Tasked with the discerning responsibility, the supervisor ensures that the production of the shawl unfolds in harmonious accordance with its meticulously devised plan.
25. Raffugar (Darner): As the artful darner, the Raffugar holds the mastery to mend any imperfections gracing the shawls, ensuring their flawless beauty. They also provide after-sale services, a testament to their unwavering commitment to perfection.
26. Dhob or Dry Cleaner: Following the meticulous darning by the skilled hands of the Raffugar, the shawl would then be entrusted once more to the care of the dry cleaner, where it would undergo its final cleansing ritual.
27. Calendaring: Once the shawl, now rejuvenated by the dry cleaner’s artistry, is returned, it undergoes a transformative finale through the gentle embrace of a steam press, a process known as calendaring.
28. Packing Material Seller: Following the meticulous calendaring process, the delicate task of adorning the shawl with its final attire falls upon the skilled hands of the packing material seller, who wraps it with utmost care and reverence.
29. Wholesaler: Upon the culmination of its intricate journey through creation, refinement, and adornment, the shawl finds its way into the hands of the wholesaler, the orchestrator of its onward voyage.
30. Retailer/Shopkeeper/Exporter: Embracing their roles, the retailers, shopkeepers, and exporters step onto the stage, their hands extending to receive the shawl from the wholesaler, thereby becoming the custodians of its artistry and grace.
31.Banker: As the shawl’s creation unfolds, the banker becomes a silent beneficiary, with each stage ensuring circulation of currency, enriching the process like a gentle stream that nourishes the entire landscape of production.
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