Not Just a dress: Appropriation of Pakistan’s Minority Cultures

From online platforms like Etsy to textile markets in Peshawar, traditional garments from Hazara, Kohistan, and the Swat Valley’s indigenous Torwali and Gawri communities have become targets of rampant cultural appropriation. The widespread mislabelling of these textiles as “Afghan” or “Nuristani” not only dilutes their unique identities but also erases the cultural legacy of these communities. While the act of wearing or selling these garments is not inherently problematic, the distortion of their origins significantly undermines their cultural significance.

This misrepresentation blurs the distinctiveness of traditional attire, including Hazarewal Leekni-embroidered bridal dresses, Kohistani Jatho and Jumlo garments, and the black hand-spun cotton dresses of the Torwali and Gawri people. Grouping these diverse textiles under broad, incorrect labels like “Swat Valley” or “Afghan” obscures their intricate cultural histories. Additionally, widespread confusion about the specific features and origins of these garments further complicates efforts to preserve their authenticity.

A Jatho, the more traditional Kohistani bridal garment, comprises three distinctive elements: wide sleeves embellished with elaborate embroidery, a heavily decorated chest piece adorned with coins and intricate needlework, three circular beaded motifs featuring golden clog-style metal centres, and a skirt with plain godets. This time-honoured dress has been cherished by Kohistani brides for generations, symbolising cultural continuity and heritage.

By contrast, the Jumlo—also referred to as the Phiran—is a more contemporary garment consisting of a kameez-style shirt richly adorned with embroidery and coins. This evolution toward the Jumlo or Phiran design occurred due to improved access to affordable, coloured embroidery threads, allowing for more vibrant and diverse patterns. Despite its modernity, the Jumlo remains a deeply significant cultural artefact for the Kohistani people. 

Traditional Hazarewal bridal dresses are often mistakenly categorised as “Swat Valley” attire, despite Hazara’s distinct cultural heritage and its deep historical connections with neighbouring Swat. From the Gandhara civilisation to the medieval Dardic kingdoms, Hazara has shared a rich history with Swat Valley, but it is crucial to recognise the unique identity of the Hazarewal people to prevent cultural erasure. Hazarewal bridal dresses are traditionally crafted from coarse white cloth, offering a striking contrast to the black garments favoured in Kohistan, the western region of Hazara. These dresses are often paired with intricately embroidered shawls, showcasing Leekni embroidery, a technique that uses silk floss to create vibrant and elaborate motifs, with red or pink silk floss embroidery Historically, matching embroidered pillows were also included as part of the bride’s dowry, adding both familial and cultural significance to the attire.  

A particularly fascinating aspect of Hazarewal bridal dresses is the inclusion of the Turkish Elibelinde symbol, a motif that may have been introduced through ancient Silk Road trade routes. While the exact origins of this emblem remain uncertain, its presence adds another layer of cultural depth to the garments, highlighting the region’s historical connections and artistic heritage. 

In the upper Swat region, the indigenous Torwali and Gawri communities maintain unique textile traditions often overshadowed by the broader Pashtun culture. Their hand-spun black cotton bridal dresses called ‘Posho Koel Paan’ is similar to the colour used in Hazara Kohistan, adorned with vibrant pink silk floss embroidery, are frequently misattributed to the Pashtun population. This misrepresentation erases the true origins of these garments, diminishing the cultural identity and contributions of the Torwali and Gawri people. 

Afghan designers and Peshawar markets have played a significant role in the appropriation of Hazarewal, Kohistani, Torwali, and Gawri textiles. By modernising traditional designs and falsely marketing them as “Afghan” or “Nuristani,” they undermine the value of the original artisans’ work and marginalise their cultural significance. For example, cheaply produced knockoffs of Jumlo garments, misrepresented under false labels, flood the markets, depriving genuine Kohistani artisans of their rightful earnings.

This appropriation erodes not only the economic stability of these communities but also the visibility of their rich traditions. The commodification of indigenous knowledge through the textile industry often reduces these cultural artefacts to mere fashion statements, stripping them of their historical and social significance. Platforms like Etsy exacerbate the problem by amplifying the reach of these misattributed designs, making it even harder to distinguish authentic garments from imitations.

Addressing this issue requires targeted reforms in the cultural sector of Khyber Pakhtunkhwa. Establishing community-driven workshops in Hazara, Kohistan, and the Swat region could empower indigenous women to produce and sell their traditional textiles. Such initiatives would provide much-needed economic support while preserving the craftsmanship and cultural heritage of these marginalised communities. These workshops could also serve as centres for educating the public about the cultural significance of the garments, fostering greater appreciation and respect for their origins.

Equally important is the role of consumers and businesses in safeguarding these traditions. Responsible engagement with traditional textiles entails understanding the true origins of these garments and ensuring that artisans receive proper attribution and fair compensation. This ethical approach would not only honour the creators but also protect the cultural integrity of their work.

Hazarewal, Kohistani, Torwali, and Gawri textiles are far more than items of clothing; they are cultural artefacts that encapsulate centuries of history, artistry, and social identity. Protecting their integrity is vital to preserving the unique identities of these communities. Without concerted efforts to support these artisans.

and correctly attribute their work, future generations risk losing their connection to ancestral traditions.

Through ethical practices, education, and the empowerment of local communities, we can ensure that these textiles remain vibrant and respected within the global cultural landscape. By fostering awareness and responsibility, we can celebrate and protect the heritage of Hazarewal, Kohistani, Torwali, and Gawri communities, ensuring their cultural expressions endure for generations to come.