Handmade With Love – A Return To Slow Fashion

Growing up in a family that nurtured a profound love for Pakistani crafts, it was a no-brainer for Zein Ahmed, a designer based in Islamabad, Pakistan, to pursue a career in the arts.

Having graduated from the Fashion Institute of Technology (FIT) in New York, Ahmed always dreamt of showcasing Pakistan’s exquisite embroideries and needlework to an international audience. Hence, she founded her very first slow fashion label, Guru New York, in 2008 which ran for roughly nine years, eventually closing shop in 2017.

In 2020, inspired by her passion for vibrant handloom textiles and a knack for working with local artisans, Ahmed founded Love Handmade, a social enterprise initiative that works with over 100 home-based craftswomen in rural Sindh. From spearheading trainings and workshops to empower them, Ahmed has slowly built a memorable brand which not only creates long-lasting change in the communities it works in, but also champions traditional Pakistani crafts such as ralli (hand-stitched quilts) and ajrak (block printing), to name a few.

In conversation with Forbes Life, Ahmed speaks about her love for sustainable fashion and how in time, it can prove to be a game-changer in encouraging the world to embrace a more mindful approach to how it views and consumes fashion.

SR: What inspired you to build a career in slow fashion?

ZA: I’m strongly opposed to mindless consumerism and the harmful cycle of cheap, disposable fast fashion. We all have a responsibility to embrace climate-friendly practices and conserve natural resources. I believe in investing in a few high-quality items that will outlast trends and supporting companies that prioritize people over profits. This mindset was instilled in me by my parents from an early age, they are deeply patriotic.

SR: Zein, could you tell us a little about Love Handmade’s training programs and what it entails?

ZA: While rural artisans are highly skilled in traditional crafts, they often lack the knowledge of how to effectively leverage these skills for a regular and sustainable income. In addition, their limited exposure to the broader world beyond their homes and villages can curb their process and ability to maintain consistent quality. Love Handmade addresses these gaps by providing training in color theory, quality control, and standardization. We also teach time management, communication, and life skills, while cultivating a growth mindset and a focus on continuous self-improvement. We also spearhead digital skills trainings and encourage the use of smartphones…technology is an incredibly powerful tool to expand an artisan’s opportunities.

SR: What are some of the biggest barriers that local craftswomen face in Pakistan?

ZA: Given their limited exposure, there is a lack of understanding of market demands, low literacy, insufficient knowledge of professional work ethics, low self-confidence, and, most significantly, high stress and trepidation. To address these issues, artisans require regular and effective capacity-building programs that include skill development, digital literacy, financial education, including access to micro loans. I personally advocate for a family-centered approach to capacity-building, where male family members are also included. This ensures broader support and long-term sustainability.

SR: Have you had any heartwarming moments where a training has aided an artisan’s work and livelihood?

ZA: I can honestly say, with complete confidence, that all of our 125 artisans are now financially stable and thriving. They have savings and they all bank – there is a well-organized system in place now. What means the most to me is the empowerment they now experience. They stand as true role models within their communities. When I first started working with them in 2019, they didn’t trust me, mainly because I’m Punjabi. They couldn’t understand how or why I, someone who wasn’t Sindhi, could help them. For them, I didn’t seem capable of making any real difference. But after two years of working closely together, I earned their trust and respect. Now, they consider me to be of Sindhi lineage and feel my parents must not know their accurate lineage!

SR: A number of our local crafts are at risk of dying out, what’s your take on how can one prevent this from happening in the long-run?

ZA: I believe the principle of supply and demand ultimately dictates what remains relevant and what becomes obsolete. You see, artisans are forced to compete with the fast fashion industry and the culture of disposable goods. Often, they end up discounting their products to the point where they become unprofitable, struggling to leverage their skills in a way that keeps them competitive. This can be addressed through comprehensive capacity-building programs.

Then, on the demand side, there needs to be greater awareness and appreciation of the time and effort involved in creating handmade crafts. One must not forget the fact that it’s a labor-intensive and resource-heavy process. Our local crafts have the potential to reach a global audience and the export sector could benefit immensely. Unfortunately, the current government infrastructure fails to support this potential, causing Pakistan to miss out on many valuable opportunities.

SR: How can slow fashion labels create much-needed change in the global fashion industry’s hyper-productive approach?

ZA: Slow fashion labels play a significant role in transforming the fashion industry by setting standards for transparency, labor rights, and environmental responsibility. In the long-run, this does encourage others to follow suit. Also, by educating consumers about the consequences of fast fashion, they help in nudging buying habits towards more mindful consumption. Also, we have to remember that profitability and sustainability can both coexist! Industry-wide change can happen, but it has to be a collaborative effort.

SR: What’s next for you and Love Handmade?

ZA: The reason why I started Love Handmade was to showcase Pakistan’s incredible crafts on a global level. The next step for us is to go global and to have exhibitions all over the world, starting with my favorite city: New York.