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A colourful trail of threads leads to the dyeing unit of Muhammad Yousuf Rangrez at Bohri Kadal situated in the heart of Srinagar downtown. This unit, with a history spanning over a century, is renowned for bringing life to colourless threads. Rangrez, 60, has been dyeing threads for 40 years. He is an expert in the art of colouring threads, bringing them to life with vibrant hues. Over the years, Rangrez has perfected his craft using traditional methods passed down through generations.
Despite his age, his passion for dyeing remains strong, and he continues to pour his heart and soul into each batch of threads he colours, ensuring the beauty and quality of his work shine through.
“Dyeing is the only job my family has done for many generations. My father, grandfather, great-grandfather, and others in my family were all dyers. Bohri Kadal used to be the centre for dyers. Our shop was the most popular in the area because most customers chose to have their yarn and thread dyed by my father, who was an expert dyer,” Rangrez said.
He explains that dyeing is crucial for Kashmiri crafts, as the colourful threads they produce are used to embroider shawls and other handmade items. This job requires a lot of hard work and commitment.
In his dyeing process, Rangrez says a considerable amount of dye to a big tumbler of boiling water. “Then we use a wooden pole to move the bunch of threads inside, ensuring they absorb the dye properly. Acids are also used to help the thread hold the dye. After dyeing, the thread is rinsed in clean water to remove excess dye and acid before being laid out to dry on a wooden plank,” he says. The raw materials required, like thread and dyes, are brought from different places across the country like Rajasthan, Badhori, and Bikaner. Nowadays, chemical dyes have taken the place of natural plant-based dyes.
“In the past, our elders would go to villages to collect herbs, which were then boiled in water by women at home,” Rangrez says. He says that these plant-based dyes were not only environmentally friendly but also gentle on the hands. “Additionally, we didn’t compromise the quality of the fabric or thread they were using,” he says. Rangrez explains that herbs like Veere Moul, Doun Gular, and Doun Kange were used to make dyes in the past. These natural dyes were safe and had no harmful effects. However, modern dyes contain chemicals and acids that can harm the lungs. This highlights the change towards using chemical dyes and the difficulties faced by traditional dyers.
“After working all day in the shop, enduring the heat from boiling coloured water, I earn between Rs 1300 and Rs 1500. After subtracting the costs of colours, electricity, and water, I don’t make much money for all the hard work,” Rangrez says.
He is one of the last dyers keeping the family craft alive. Rangrez’s children are well settled. His two sons are doctors. So, there isn’t anyone in the family to continue this craft. He regrets that the shop will eventually shut down one day because neither of his two sons will carry on the family tradition. Even though he has encountered many challenges, he still holds on to hope.
“I will feel sad if I have to shut down the shop. I want this shop to keep running even after I am gone,” he says, getting emotional.
Author: Mehroob Mushtaq
Story Credit: Greater Kashmir
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Far more than a mere textile, Pashmina embodies the spirit of a timeless tradition and heritage of Kashmir. Let us demystify the captivating art of Pashmina weaving, unraveling the threads that bind this luxurious fabric to the Kashmiri culture.
The Origin of Soft Gold
The journey of Pashmina begins high in the Himalayas, where the Changthangi goats graze in the thin mountain air of Ladakh. It is their fine undercoat, known as Pashm, that transforms into the coveted “soft gold” of Kashmir. The winter months, harsh and unforgiving, coax the goats into producing a downy fleece that becomes the raw material for this exceptional fabric. The origins of Pashmina are rooted in the very landscape it comes from, a testament to the symbiotic relationship between nature and craft.
The Craftsmanship
Pashmina weaving is not just a craft. It is an intricate fibre crafted by skilled artisans who have honed their skills over generations. The process begins with the careful selection and hand-combing of the Pashm, separating the fine fibres from the coarser outer hair. The next act involves spinning these delicate fibres into yarn using traditional wooden spindles. It is here that the Pashmina weaver transforms the raw material into a canvas for artistry.
Traditional Handloom Magic
The handloom, an essential tool in the Pashmina artisan’s repertoire, is where the true magic unfolds. Each thread is carefully interwoven with precision with hands on a loom that creates intricate patterns and designs. Traditional handlooms are employed, emphasising the artisan’s connection to their craft and ensuring that each piece is a unique creation. The rhythm of the loom echoes the cultural heartbeat of Kashmir, telling stories in every delicate weave.
Patterns
The designs that grace authentic Kashmiri Pashmina are not arbitrary. From the classic Paisley motifs to the regal Jamawar patterns, each design carries a cultural significance that transcends time. The weaver’s hands move with purpose, creating patterns that are both traditional and innovative. It is in these patterns that the heritage of Kashmir finds expression, and the wearer becomes a custodian of centuries-old tales.
Preserving Tradition in a Modern World
In a world where the pace of life often accelerates, the artisans of Kashmir continue to weave Pashmina with a dedication to preserving tradition. While modern machinery may have infiltrated some aspects of the textile industry, the authenticity and soul of Kashmiri Pashmina remain intrinsically tied to the hands that craft it. The delicate dance between tradition and modernity ensures that Pashmina remains not just a fabric but a living testament to a cultural legacy.
Demystifying the art of Pashmina weaving reveals a world where tradition and craftsmanship converge, creating a fabric that is more than the sum of its threads. Kashmiri Pashmina, with its intricate patterns and soft embrace, is not just a luxury item. It is a journey into the heart of a timeless tradition. As you don this exquisite fabric, you don’t just wear Pashmina but connect to the cultural soul of Kashmir.
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Kashmir has long been renowned for its breathtaking landscapes, rich culture, and exquisite craftsmanship. One of the region’s most prized treasures is the Kashmiri Pashmina, a luxurious and finely woven fabric that has captivated hearts around the world. In this ultimate guide, we delve into the history, craftsmanship, and essential care tips for authentic Kashmiri Pashmina, uncovering the secrets behind this timeless and cherished textile.
The History of Kashmiri Pashmina
The roots of Kashmiri Pashmina can be traced back to ancient times, where its origins are intertwined with the rich cultural history of the Kashmir. The word ‘Pashmina’ is derived from the Persian word ‘Pashm’, meaning wool. The craft of weaving Pashmina has been passed down through generations,
with skilled artisans refining their techniques over centuries. The production of Pashmina involves the wool of the Changthangi breed of goats, which inhabit the high-altitude regions of the Himalayas. These goats produce an incredibly fine and soft undercoat, known as Pashm, which is painstakingly hand-combed during the harsh winter months. The scarcity of this raw material and the labour-intensive process contribute to the exclusivity and value of authentic Kashmiri Pashmina.
Craftsmanship Behind Kashmiri Pashmina
The craftsmanship involved in creating Kashmiri Pashmina is a testament to the skill and dedication of the artisans. The process begins with the careful selection and combing of the Pashm, followed by meticulous sorting to ensure only the finest fibers are used. The hand-spinning of these delicate fibers into yarn is a time-honoured tradition, often carried out by skilled craftspeople using traditional wooden spindles.
The weaving process, typically done on hand-operated looms, requires precision and patience. The intricate designs and patterns are meticulously crafted by skilled hands, often passed down through families. The result is a luxurious fabric that is not only incredibly soft but also showcases the artistry and cultural heritage of the Kashmiri people.
Care Tips for Authentic Kashmiri Pashmina
Owning a piece of authentic Kashmiri Pashmina is a privilege, and proper care is essential to preserve its beauty and longevity. Here are some tips to ensure your Pashmina remains a cherished heirloom:
Gentle Cleaning
Handwash your Pashmina using a mild detergent or baby shampoo. Avoid using harsh chemicals or machine washing, as these can damage the delicate fibers.
Dry Cleaning
If you prefer professional cleaning, choose a reputable dry cleaner experienced in handling delicate fabrics. Be sure to inform them of the Pashmina’s unique characteristics.
Storage
Store your Pashmina in a breathable fabric bag or wrapped in a clean cotton cloth to protect it from dust and moths. Avoid hanging it, as this may cause stretching.
Avoid Direct Sunlight
Pashmina is susceptible to fading, so store it away from direct sunlight to preserve its vibrant colours.
Handle with Care
Pashmina is delicate, and excessive pulling or snagging can damage the fabric. Handle it with care to prevent any unnecessary wear and tear.
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Renowned fashion designer and filmmaker, Manish Malhotra has expressed his love for Kashmiri embroidery.
Sharing insights into the inspiration behind his merchandise with which he has brought a touch of glamour to coffee culture in collaboration with Starbucks India, introducing a limited-edition drinkware collection, the founder of the eponymous label, Manish Malhotra, emphasised his love for timeless elegance and drawing from Kashmiri embroidery.
The collection of Malhotra, 57, who has been deeply entrenched in the twin worlds of fashion and film for the past three decades and styled and designed for more than thousands of movies and won numerous awards, showcases a luxurious blend of traditional craftsmanship and contemporary style, featuring intricate floral motifs in a colour palette ranging from charcoal black to regal gold.
Informing about the use of Kashmiri motifs in the limited-edition Starbucks collection, Starbucks India posted on X: “A signature of the Manish Malhotra brand, the intricate designs used in our limited-edition collection, beautifully capture the Kashmiri motifs which are inspired by the region’s rich cultural heritage. You too can now own a piece of this art, exclusively available across all Starbucks stores in India #ManishMalhotraStarbucks.”
The limited-edition collection of drinkware features exquisite Kashmiri motifs inspired by centuries-old craftsmanship and the rich cultural heritage of Kashmir.
Malhotra, who is known for redefining and modernising how actors look in Indian films and reviving some of the country’s forgotten crafts, chose Kashmir for its significance, seamlessly integrating the region’s beauty, and craftsmanship into everyday moments.
Since 2018, Malhotra has launched four other new ventures – Manish Malhotra Beauty, Manish Malhotra Jewellery, a film production company, and a home décor has also brought a touch of glamour to coffee culture with his collaboration with Starbucks India, introducing a limited-edition drinkware collection.
Malhotra who has designed costumes for top Bollywood actors from Amitabh Bachan to Ranbir Kapoor and Bollywood actresses from Hema Malini, Rekha and Madhuri Dikshit to Aishwarya Rai, Deepika Padukone, and Katrina Kaif believes sustainability is a key focus, with eco-friendly elements, including reusable cups and echoing contemporary values.
The limited-edition collection features stoneware ceramic mugs, stainless steel tumblers, and an environment-friendly reusable cup, all adorned with exquisite Kashmiri motifs.
These designs, inspired by centuries-old craftsmanship and the region’s natural beauty, showcase the rich cultural heritage of Kashmir
Tata Starbucks in a statement said that it was excited to launch an exclusive collaboration with Malhotra, offering a limited-edition lifestyle drinkware range collection that brings together the worlds of coffee and fashion.
Inspired by the craftsmanship of Malhotra and the cultural heritage of Kashmir, this collection is a fusion of global aesthetics and local traditions.
“Starbucks has a history of collaborating with iconic brands to bring international style and glamour to its consumers. Through collaboration with Malhotra, Tata Starbucks offers a truly unparalleled experience for coffee, art, design, and fashion enthusiasts,” the statement said.
The collection showcases intricate patterns rich in cultural significance, reflecting the signature Kashmiri embroidery of the Manish Malhotra brand.
With colour palettes ranging from charcoal black and regal golds to pristine whites and subtle carmines, this range embodies the luxurious essence of traditional craft with a contemporary twist.
Malhotra shared his excitement about the collaboration, saying, “I am delighted to have joined forces with Starbucks India to introduce this limited-edition collection. I aimed to design something deeply rooted in India while complementing the iconic tradition that Starbucks is renowned for. In crafting a signature collection for this collaboration, my goal was to seamlessly integrate the beauty and craftsmanship of Kashmir into everyday moments.”
CEO of TATA Starbucks, Sushant Dash expressed his enthusiasm about the collaboration, saying, “At TATA Starbucks, we believe in the power of design, art, and community in sharing elevated experiences for coffee lovers across India. From our stores to our packaging, each touchpoint at Starbucks reflected this commitment. We were thrilled to partner with Manish Malhotra, one of India’s most prominent voices in fashion, to elevate our consumers’ daily cup of coffee with his inimitable design language.”
Each piece of merchandise is accompanied by a personalised note from Malhotra.
In addition, Starbucks Rewards members will have exclusive access to a limited-edition collectable set, which includes a stoneware ceramic mug, a stainless-steel tumbler, and a personalised note by Malhotra.
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In the heart of Srinagar, where vibrant life flows through labyrinthine alleys, Sajad Muzaffar Zarkob carries a legacy forged in fire and time.
Each vessel is a canvas, adorned with the stories of Kashmir. Izband Soz, whispers of traditions passed on from generations to generations. Surayi, the traditional water vessel, speaks of the cool mountain streams of Kashmir. And Kandkari, the art of engraving, etches intricate narratives onto the burnished surface. Recently, Sajad has witnessed a curious trend: a surge in demand for copperware adorned with Islamic calligraphy. Verses dance across the metal, transforming into blessings that grace living rooms and kitchens. It’s a testament to the timeless appeal of copper, its ability to adapt and evolve while holding onto its ancient soul. But machine-made imitations pose a threat.
“People don’t always understand the difference,” Sajad laments. He dreams of a future where innovation empowers both quality and affordability, making handcrafted copperware accessible to all. He urges the youth to embrace the fire, to not just market, but to create. “Innovate to make it better,” he challenges them. “Or innovate to make it accessible. Let copper sing its songs in every Kashmiri home, mixing heritage and modernity.”
Sajad’s story is not just about copperware, it is about the human spirit, about the echoes of tradition resonating in the present, and the embers of innovation waiting to be fanned into flames.
It’s a story that begs to be heard, whispered in the murmur of metal and fire, echoing through the vibrant alleys of Srinagar, and carried on the winds that caress the snow-capped peaks of Kashmir.
He is the third generation in his family to breathe life into copper, shaping it into exquisite vessels that whisper tales of Kashmir’s ancient spirit.
His ancestors, like skilled alchemists, transmuted silver and gold, but their hearts were drawn to the warm embrace of copper.
In 1970, when copperware adorned every Kashmiri bride’s trousseau, Sajad’s grandfather, Ghulam Nabi Kashoo, embraced the burgeoning craze. This was a time when copperware wasn’t just functional, it was an heirloom, a tangible thread connecting generations. Sajad, inheriting this love for the craft, initially ventured into the computer business. Yet, the rhythmic clang of the hammer and the fiery kiss of the furnace beckoned him back. He returned to the family fold, but a detour with machine-made copperware left him unsatisfied.
“Handwork is the soul of this craft,” Sajad says, his eyes gleaming with the same passion that burns in the forge. “Machine-made may be good for kitchens, but for true art, for objects that grace our homes, only the artisan’s touch will suffice.”
This legacy echoes back 700 years, to when Mir Sayyid Ali Hamdani, an Islamic scholar, brought erudite artisans from Central Asia. Their nimble fingers, guided by a deep understanding of fire and metal, breathed life into copper, birthing a craft that flourished under the benevolent reign of King Zain-ul-Abideen. However, Sajad observes a curious shift. While young Kashmiris appreciate the craft, their gaze is drawn more to the market than the forge. “They understand the processes,” he says. “But fewer are drawn to the creation itself.” Yet, hope flickers like a flame in the darkness.
Technology, often seen as an adversary, becomes an ally. “Innovations help us refine,” Sajad smiles. “Today, the world can see our work online, and appreciate the meticulous artistry of the Barak Saaz, the strength of the Chargar, the delicate touch of the Naqashqar, and the final flourish of the Kalai Saaz.”
His family primarily focuses on artistry, crafting decorative pieces that transcend mere utility.
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When former Prime Minister of India, Atal Bihari Vajpaee saw Sozni artisan Mehb
Beigh, a fifth generation Kashmiri Sozni arti
The lengthy conversation piqued the former PM’s curiosity.
Vajpayee inquired about the profound dedication that had bound Beigh to the craft of Sozni for decades.
“I replied: ‘Pyar Hazaron Karte Hain, Deewana Kisi Ko Kehtai Hain,’” Beigh said signifying that thousands of people love but only those who are mad in love turn into a passionate devotee.
However, it was the sight of Beigh’s hands, weathered by years of meticulous Sozni work that stirred Vajpayee’s soul.
A two-time National Award and three-time State Award winner, Beigh said, “When Vajpayee saw my fingers, he kissed them and broke into tears.”
Born in 1966, he started Sozni work when he was just seven-years-old.
Learning this cherished craft from his own family, he has spent five decades nurturing and safeguarding the exquisite tradition.
His steadfast commitment has not only illuminated the artistic heritage of Jammu and Kashmir but also shone brightly on the national and international stage.
Venturing beyond the borders of his homeland, Beigh’s skills have graced countries far and wide, from the United States to Switzerland, Austral
In these foreign lands, he has been a humble ambassador of Sozni, generously sharing his expertise with craft enthusiasts and students.
When the craft experts and students during an exhibition from September 23 to 26, 2007, at New York saw Beigh’s live demonstration of Sozni craftsmanship, they were left in awe, astonished by the magical dance of his fingers that wove intricate designs with grace and finesse, seemingly defying the limits of human capability.
During the live demonstration, Beigh was extended an invitation to stay and teach at the design and craft schools in the US that spoke volumes of his expertise.
Yet, his heart remained with his roots and he politely turned down the offer.
“The people who have the first right on learning this craft are the youth of Kashmir,” he said with unwavering dedication.
The Sozni craftsmanship flows in Beigh’s veins, a legacy inherited from his family.
His grandfather, Ghulam Hassan Beigh, was honoured with the National Award by the 8th President of India, Ramaswamy Venkataraman. His father, Ali Muhammad Beigh, and his brother, Ghulam Muhammad Beigh, received the National Award from the 9th President of India, Shankar Dayal Sharma.
His brother, Shabir Ali Beigh, carried this legacy to greater heights, earning the prestigious ‘Best of the Best’ Award at The Art in Action Awards from the Oxford University Press at London in 2007.
Tragically, Shabir passed away during an exhibition in Pune, leaving behind an unfinished masterpiece – a Pashmina shawl adorned with Sozni embroidery.
Mehboob Ali Beigh, in a touching tribute, undertook the task of completing his brother’s intricate work, a process that took seven years of painstaking effort.
“It was difficult to understand Shabir’s patterns. I first had to undo some part of his work. After I understood how he was creating the designs and patterns, it took me seven years to complete the shawl,” he said.
The threads that Beigh lovingly preserves in his workshop have withstood the test of time, spanning over 200 years and passing down through generations.
These threads tell a story of dedication, love, and a commitment to preserving a priceless tradition.
As Beigh gazes upon his son Saqib, an MBA graduate who willingly forsook a lucrative corporate career in Bangalore to join the family’s artisanal heritage, he sees a ray of hope for the continuation of Kashmiri arts and crafts.
His own eyes may have dimmed over the years, but it is his wealth of experience, spanning half a century, that enables him to continue creating Sozni embroidery on Kashmiri Pashmina shawls.
What truly lights up his eyes, however, is the sight of Saqib, poised to take the reins, making sure that not only does he secure his own future but also extend a helping hand to countless skilled artisans.
Together, they strive to safeguard the legacy, ensuring that the art of Sozni and the cultural heritage of Kashmir thrives.
In the delicate craftsmanship of Beigh’s life, there is indeed a luminous beacon of hope, illuminating the path forward for a tradition that bridges the past and the future, uniting generations in the tradition of Kashmiri art and love.
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Welcome to a world of timeless beauty and sustainable artistry. At Brand Kashmir, we take immense pride in presenting our exquisite collection of Papier-mâché Christmas decorations crafted by highly skilled Kashmiri artisans. Each piece not only adds charm to your festive season but also embodies the rich cultural heritage of Kashmir.
Kashmiri Papier-mâché
Kashmiri papier-mâché is a handicraft of Kashmir that was brought from Persia in the 14th century to medieval India. It is based primarily on paper pulp and is a richly decorated, colorful artifact, generally in the form of vases, bowls, or cups, with and without metal rims, boxes, trays, bases of lamps, Christmas décor, and many other small objects. These are made in homes and workshops in Srinagar and other parts of Kashmir and are marketed both within India and in the international market. The product is protected under the Geographic Indication Act 1999 of the Government of India, and was registered by the Controller General of Patents Designs and Trademarks.
A French Tradition in Kashmir
Papier-mâché is the French word for “chewed paper”, which is a standard English loan word for objects made by molding paper pulp in various shapes. In the figurative sense, the word ‘papier-mâché’ has come to be identified as the art of Kashmir.
A Rich History
The papier-mâché technique of using paper pulp for making decorative objects was first adopted in Kashmir in the 14th century. Internally this art form was called Kar-i-Qalamdan as it was made as pen holders and a few other personal trinkets. Another term used for the art was Kar-i-Munaqqash as it was crafted on smoothly finished surfaces created using paper pulp or on layers of polished paper. This tradition of using papier-mâché or pulp on woodwork to be colorfully painted with different designs is very much in practice even today. Some of the older designs involved intricate painting of kingfishers, maple leaves, and other designs, such as ‘Arabesque’, ‘Yarkand’, and ‘Hazara’.
The Art and the Artisan
The skilled artisans involved with this painstaking process are called Papier-mâché makers. The materials involved with this process are discarded paper, cloth, straw from the rice plant, which are mixed and made into a pulp.
Challenges
With new technologies and manufacturing techniques, the art of papier-mâché is slowly dying. The economic viability of the art has taken a hit due to machine carving and artisans preferring other jobs. The art and its products most cater to the premier luxury sector with the price range on the upper side. Lower quality, cheaper machine products have given a tough challenge to the sector, with artisans struggling to keep the sector going.
Product Showcase
Brand Kashmir offers exquisite Papier-mâché Christmas decorations.
Papier-mâché Christmas Balls
Elevate your holiday décor with our handcrafted Papier-mâché Christmas balls. Available in various sizes and colours, these delicate ornaments bring a touch of Kashmiri artistry to your tree.
Papier-mâché Christmas Bells
Let the melodious charm of our Papier-mâché Christmas bells resonate through your home. Each bell is meticulously crafted, making them a symbol of quality and tradition.
Papier-mâché Christmas Crescents
Add a touch of elegance to your holiday setting with our crescent ornaments. These pieces, adorned with intricate designs, are sure to capture hearts and attention.
Papier-mâché Christmas Eggs
Our Papier-mâché Christmas eggs are a true masterpiece. With vibrant colours and fine details, they bring the magic of Kashmir to your festive celebrations.
Papier-mâché Christmas Stars
Illuminate your holiday nights with our Papier-mâché Christmas stars. These celestial creations symbolise the light of the season and the talent of our artisans.
The Golden Hands
Our skilled Kashmiri artisans pour their dedication and expertise into every piece. The hands behind the artistry tell stories of passion these artisans bring to their craft.
Quality and Craftsmanship
At Brand Kashmir, we uphold the highest standards of quality and craftsmanship. Our Papier-mâché Christmas decorations undergo rigorous quality control to ensure they meet your expectations.
Sustainability and Eco-friendliness
We are committed to sustainability. By using waste paper as our primary material, we not only create beautiful decorations but also contribute to a greener planet.
Pricing and Ordering Information
Explore our pricing details and easily place orders through our website or contact us via phone or email. Be a part of our mission to promote Kashmiri craftsmanship.
Customer Testimonials
We have hundreds of satisfied customers who vouch for a wonderful experience with our Papier-mâché Christmas decorations.
Crafting Christmas Cheer
Handmade for the Holidays
Discover the magic of Kashmiri Papier-mâché craftsmanship. Choose Brand Kashmir for exceptional quality, eco-friendly practices, and a unique touch of artistry for your holiday season.
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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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trade@brandkashmir.org
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+971-4-8821882
sdurrani@brandkashmir.org
Warehouse No 8 . Gate 11. Jebel Ali Industrial Area 1. Dubai – United Arab Emirates
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