The fashion industry is flourishing in Uzbekistan. Several key manufacturing facilities, a good hold over the collection of the raw materials are some of the major reasons behind such growth. Moreover, the textile industry has grown the most in the recent period of fashion.
Central Asia is thriving again thanks to traditional weaving methods, despite threats from the Soviet regime. The dazzling fabrics are now appearing in major fashion shows.
In the past, the Silk Road conjured images of camel caravans and dusty desert tracks, transporting goods along with a network of markets from the Far East to the West. On a recent trip to Uzbekistan, a journalist came back by being convinced of the existence of a new Silk Road; one that is carving its path into the top fashion houses.
Uzbekistan, where mountains and steppe meet the desert, was at the heart of the Silk Road, which was a network rather than a single highway. Empires and empire-builders from an ancient past have left behind a melting pot of cultures created by their nomadic invasions. A variety of merchants, pilgrims, and envoys were attracted to this city, both by trade and by religious, technological, and artistic exchanges. This facilitated communication and collaboration between people.
The globalization of textiles is commonly understood to lead to the loss of non-Western textile practices. Sericulture (the making of silk) is not one of the popular professions in Uzbekistan. Uzbekistan’s industrial hub, which manufactures and exports silk internationally, is situated in the fertile Fergana Valley, which is known for its colorful bazaars, mulberry-lined streets, and fertile land.
Uzbekistan’s national textiles feature Central Asian silk. Silk threads are used to embroider a fabric called khina. Suzani means “embroidery” in Farsi, and each one tells a story. A suzani is embroidered upon the birth of a daughter into the family to decorate her marital bed. In addition, it is embroidered before the birth of a son into the family. There are different types of suzani in different regions based on the techniques and themes used. Symbolically, the pomegranate is a fruit full of seeds associated with fertility, abundance, and prosperity, thus signifying fertility, abundance, and prosperity for newlyweds.
The pomegranate motif was used extensively across several Valentino dresses in the spring 2015 couture collection designed by the designer duo Maria Grazia Chiuri and Pier Paolo Piccoli.
These are the skills of Uzbek textile masters:
Over 3,000 hours of embroidery went into one Valentino dress from this collection. Color-loving designers are also inspired by Marc Chagall’s paintings, travels, and ancestry, in addition to traditional embroideries. Their gowns were decorated with artwork from Tajik manuscripts, also a Silk Road neighbor of Uzbekistan.
There have been generations of developments and refinements in the ikat weaving traditions in the Fergana Valley. Since the 12th century, ikat robes were the preferred form of royal commendation at Central Asian courts, rather than medals. Such customs were abruptly ended under Soviet rule when weaving became cooperative, production was standardized, and designs were simplified and sold under brands like Sputnik and Kremlin. During the Soviet period and since independence, weaving and embroidery have seen significant growth in this region, thanks in part to a British Council-funded project and the master craftsmen who kept their ancestral skills alive by working secretly during the Soviet era.
Yodgorlik ikat factory lies in the dusty city of Margilan in the Fergana Valley, an unassuming collection of sheds and outhouses. Silk Ikat is sold internationally by Yodgorlik, who woven it for Gucci’s Spring Summer 2010 collection. The artisans of the new Silk Road are trained to become masters of their craft.
It is fittingly couture that the masters pay attention to every detail and master their skills to perfection. Moreover, traditional procedures are highly cherished and passed along to young apprentices. The looms’ click-clack and the atmosphere of creativity and concentration are almost meditative in their impact. It is a place of pride in how all the materials used are natural. There is a box of roughly eight raw colors of crushed pigments that my guide offers me.
Cochineal, madder root, walnut husk, and indigo are all used to dye red, gold, brown, and blue. It is unquestionably beautiful to look at a true woven abrabandi ikat, but the process of producing one has required a lot of manpower and resources, as well as dexterity on the master’s part. These designs, which were earlier more experimental and unique, are now seen more frequently in Uzbek clothing made from printed ikats, which cannot be afforded as a premium fabric such as pure silk.
It is no coincidence that fashion companies have consistently sought Uzbekistan’s textiles, and craftsmen on the New Silk Road have left an indelible mark on their heritage. Though ikat and suzani remain popular cultural and household items in Uzbekistan, their use in international fashion has been spurred by the current trend for sustainability and ethical products.
Source:
Image Courtesy:
- https://depositphotos.com/stock-photos/textile-industry.html
- https://www.fibre2fashion.com/news/textile-news/uzbek-textile-garment-exports-rise-by-112-from-jan-to-jul-269570-newsdetails.htm
- http://www.vam.ac.uk/content/articles/c/central-asian-ikats-from-the-rau-collection/
- https://apparelresources.com/
Written by Rafiad Ruhi
