Described as “curated craftsmanship from countries at war”, ISHKAR is a platform aiming to provide a window into countries known for their rich cultures long before they hit headlines for being at war. We met founders Flore de Taisne and Edmund Le Brun who lived in Afghanistan for three years before setting up the brand, to learn about their journey, the Kabul they know and their hopes for the future.
Hearing Flore and Edmund reminisce about Kabul, I quickly find myself drawn into the romance of Afghanistan. It is hard not be intrigued a country that is so off the beaten track it represents what Edmund calls a “black spot” on the map. Their fond memories go so far as to hint at the idea that this is an emerging destination for travel, much like Colombia 20 years ago.
Not yet though; Afghanistan is still incredibly dangerous. But with ISHKAR the pair have created a way to challenge the narratives that fill western media. “If we understand that Afghans, Syrians and Malians arriving in Europe come from places of extraordinary heritage and culture, integrating them into our communities will be easier than if people only view them as refugees and opportunistic migrants”, explains Edmund. Through monthly talks in their shop space – the latest one by award-winning Syrian architect Marwa al Sabouni – carefully researched blogs and films, ISHKAR is revealing a side to war-torn countries which we rarely see.
The Kabul they describe is rich in these elements. But the city changed a lot in the years they were there – and even more since. As security declined, concrete blast walls increased and Kabul has become a place where checkpoints and armed men are as common as traffic lights (though the city has few of those, they note). But despite being at war for nearly 40 years, this is a relatively new reality. The city they describe is built on steep hills, decorated with colourful mud-brick houses and surrounded by snow-capped mountains stretching into the distance. Kabul is scattered with crumbling fortresses and markets selling everything from pomegranates to antique swords – as well as one dedicated only to birds.
The problem is the current “craft” trend is a distinctly western phenomenon. In the poorest countries the reverse trend is actually happening. What is chic in Afghanistan is factory-made products which are cheap, smooth and regular. A dramatic contrast to ISHKAR’s characterful collections. These products give you a window onto individual behind the product. That’s their charm.
So have they noticed any difference in the craftsmen they work with in Mali and Afghanistan? “Their similarities are more striking than their differences”, admits Flore “Whether in dusty, manic Kabul, or laid-back Timbuktu, the atmospheres of the workshops and ateliers are identical”. Calm, quiet concentration; the feeling of makers who have pride in their work.
Looking to the future, ISHKAR is expanding its scope to work with refugees too. The Pin Project is one of their current campaigns, a joint initiative with social enterprises in the US and Toronto to help displaced persons, returnees and refugees achieve long-term self-reliance through making design-led brooches make pretty gifts.
To stay: the Fort of Nine Towers, a crumbling fortress and one of the most evocative inhabited forts in Kabul. It doesn’t normally host travellers, but if you know the right people it’s an experience not to be missed. To eat: the bread. There are bakeries everywhere and you can’t go wrong. The Afghan bread is so good we almost missed our flight home for it. To do: walk around the old city walls and visit the Ka Faroshi bird market. To shop: Chicken Street. Ask for Waheed at Herat Carpets – he’ll sort you out.