Paisley to calligraphy: fashion designer rewrites Kashmir’s pashmina story

For centuries, Kashmir’s pashmina story was popularised by intricate and exquisite paisley, cypress and flower bouquet imprints. Zubair Kirmani, a Srinagar-born fashion designer, has changed the format by introducing Islamic calligraphy on pashmina shawls. From a popular wearable, the pashmina is writing a new story as wall decor.

“Kashmir has always been a land of extraordinary craftsmanship. The problem is not the lack of heritage; it is repetition. When craft remains unchanged for decades, it slowly becomes predictable, and predictability weakens its global relevance,” said the 46-year-old Kirmani, whose brand ‘Bounipun’ has already earned the spotlight on the runways of Lakme Fashion Week, Wills Lifestyle India and other platforms.

He added, “If design stagnates and value drops, incomes shrink and the younger generation loses interest in continuing the craft. Evolution is therefore not just a creative choice; it is essential for sustaining livelihoods and ensuring that this heritage remains economically viable for future generations.”

Mr. Kirmani showcased his new series, ‘Karahul’, at the India Islamic Centre, New Delhi, on Sunday. In this series, the delicate pashmina is embossed with Kufic calligraphy highlighting verses from the Koran. Kufic calligraphy is a complex play of angular, vertical, horizontal and regular lines that create Arabic letters and transform them into Koranic verses.

Years of research

“It is a concept that took years of research, refinement, and technical innovation to perfect,” said Mr. Kirmani.

The new series also marks a departure from his work on geometric patterns influenced by the ‘Khatambandh’, complex geometrical patterns carved on ceilings in Kashmir. “It’s not a departure. It is an extension. Geometry was never a limitation, and calligraphy is not a departure. For me, it is a natural evolution driven by the need to innovate while staying rooted in the brand’s ethos. Bounipun has always been about pushing Pashmina beyond the expected, without disturbing its soul,” Mr. Kirmani said.

For Mr. Kirmani, calligraphy, unlike geometric repetition, “carries emotion, rhythm, and spiritual depth”. “It demands balance, proportion, and control, especially on a surface as delicate and fluid as Pashmina. Translating something so structured and sacred onto such a soft textile requires years of experimentation and technical refinement,” Mr. Kirmani said.

Pashmina, which defines the identity of Kashmir’s art heritage, has a deeper connection for the fashion designer. “Pashmina is not just fabric; it is heritage. Islamic calligraphy is not just script; it is art with meaning. Bringing the two together creates dialogue — between material and message, between tradition and innovation. For me, it is about giving form to words and giving voice to fabric,” he said.

“This is not a change of trend. It is growth with purpose,” he added.

At the India Islamic Cultural Centre, Mr. Kirmani puts up a curated selection under the title, Pashmina Wall Art and Wearable Art. “Our focus is to demonstrate that Kashmiri Pashmina can go beyond the Kashmiri shawl. For years, Pashmina has been seen mostly in shawls. Through BOUNIPUN, we have worked to expand that perception,” Mr. Kirmani said.

The motivation behind Mr. Kirmani’s new series is to tell a new emerging story from Kashmir. “The exhibition is not just about display; it is about education — inviting people to see Pashmina as a canvas of expression, heritage, and innovation. Today, these works are finding homes globally as collectible textile art, not just craft,” Mr. Kirmani said.

Mr. Kirmani’s attempt at rare innovation comes at a time when the Kashmir pashmina remains static for decades now. “The Pashmina sector suffers from lack of direction and value positioning. Genuine Pashmina is often reduced to price competition, while machine-made or blended products flood the market under the same name. This confuses customers and dilutes the identity of authentic craft,” Mr. Kirmani said.

Another concern, Mr. Kirmani points out, is “stagnation in design language”. “When innovation slows, global relevance declines. There is also a gap in branding and storytelling. Kashmir produces extraordinary craftsmanship, but the narrative rarely reaches international markets in a refined, aspirational way. Craft remains local when it has the potential to be global luxury,” he added.

What further worries the fashion designer is economic pressure on artisans. “When margins shrink due to imitation products and middle layers, the younger generation loses motivation to continue the craft. The solution lies in authenticity, innovation, and repositioning Pashmina not as a souvenir or seasonal garment, but as collectible textile art and heritage luxury. Only then can the sector regain strength and global respect.” Mr. Kirmani said.