Taher Sultan: ‘I do what I love and care for’

Kuwait-born fashion designer Taher Sultan is in love with Jaisalmer, a district in the western Indian state of Rajasthan, and it has found expression in his work to empower rural women in the region.

Sultan says, “I have set many goals for myself and believe in achieving them. My competition is with my own self and I do what I love and care for. In the process, I try and find ways to make a difference.”

Discussing his roots, Sultan says, “My father, Ghazi Sultan, is a Kuwaiti, who grew up in Mumbai before oil was discovered in the Middle East. My mother, Aruna, was a resident of New Delhi, and since my maternal grandfather was a high-ranking officer in the Indian Navy, the family was constantly shifting between Mumbai and New Delhi. My parents met each other through mutual friends and eventually got married.

“Having studied at Harvard under Walter Gropius, the German architect, my father returned to Kuwait in 1968. A year later, along with my aunt Najat, he set up the first art gallery in the Gulf region and was instrumental in igniting the art movement, which is now a multibillion-dollar industry in the Middle East.”

Sultan’s mother is a landscape designer. He claims, “Much of the credit for turning Kuwait into a green city goes to her. She introduced a lot of the plant vocabulary that exists today.”

During their younger days, Sultan and his brothers got to travel extensively with their parents and it exposed them to different cultures and experiences. “We were taught to be tolerant and constantly reminded of the responsibility to give back to the society.

“Growing up with dogs, birds, turtles and fish around us was interesting. But when I was 12, our father suffered a stroke and one of his legs had to be amputated. This led to us taking up many responsibilities at a young age.” Sultan studied renaissance art, history and photography at Studio Art Centres International, Florence, Italy. That was 1997, and he would travel every weekend to see frescos and other pieces of art that, he says, no longer exist after the earthquake hit the city a few years ago. Later, he moved to London to study architecture at the Architectural Association, but his heart was in fashion designing, which he took up in New Delhi for two years.

Soon after, he did a four-year fashion course at Central Saint Martins College of Art & Design, London. After interning with international designers Alexander McQueen and John Galliano, Sultan finally launched his own label in 2008. Having made it to the London Fashion Week as the first Kuwaiti designer, he now works out of India and Kuwait. He talked to Weekend Review in an exclusive interview:

What made you venture into empowering rural women of Jaisalmer through fashion? Will a similar concept be launched in any other city?

I think I was just destined to do it. The idea germinated in Jaisalmer when, one day, I was sitting on a large hill of giant boulders with Manvendra Singh Shekhavat, a close friend, watching sunset over a lake that had dried up. He was expressing his love for the city and his eagerness to make a difference to the surrounding areas and its people. Manvendra owns Suryagarh, a majestic fort-turned-boutique-hotel, about 15 kilometres away from Jaisalmer.

During its construction, he had provided employment to more than 3,000 men, who had requested him to find a way to employ the womenfolk as well. Manvendra started a programme but it did not take off for several reasons. I suggested that to set the ball rolling, I could employ a few rural women to design home furnishings, such as cushion covers, for us. The idea clicked and at present we have more than 150 women who are a part of the programme. We plan to expand it by using our NGO I Love Jaisalmer.

What stories do your products tell?

The products narrate many interesting stories because apart from being designed by the traditional sewing technique that Rajasthan is famous for, they also touch upon the vibrant history and culture of the state. At one time, Jaisalmer used to be on the trade route of the East, the Far East and central Asia, and from spices to fabrics, everything was traded from this city.

The cushion covers explore the historical significance of central Asian designs, and combine them by using Rajasthani crafts. This is further layered with modern embellishment such as fluorescent candy beads, to create a piece that is both beautiful and sophisticated. Each cushion is named after the woman who designs it such as Kamla, Asha or Meena, giving it a unique identity. Every time someone buys a cushion, they help in empowering a woman.

Are Manvendra and you satisfied with the results?

We have a long way to go. But yes, I Love Jaisalmer is an ever-expanding programme that will benefit the city and its surrounding villages. Together, we are aiming to restore the glory of the city through our agenda for conservation. Various initiatives, including health care, education and development, are being taken up with the assistance of a dedicated body of volunteers, who are equally passionate about making it a success. They are the backbone of the programme.

Several craftspeople complain of exploitation at the hands of designers and promoters. What steps, if any, have you taken to keep their interests in mind?

We keep a track of our earnings and expenditures and ensure that every penny we earn is put back into the programme. That’s our way of ensuring the society benefits from it.

Recently, when I visited a village, a few women said to me that they wanted to do additional work to be able to earn more. This way, they have managed to triple their income. And the elderly ones told us that they have started training their teenage daughters in the craft so that they can become self-reliant and earn their living within the safe confines of their villages.

Most of the communities we work with are highly conservative and prefer working with their own village people. Having obtained a platform to showcase their skills, they decide on their own how much to charge per piece. In this way, they have, to a great extent, succeeded in improving their living conditions.

How are they able to innovate with designs without much exposure to the outside world?

Each piece is designed according to the specifications and colours I choose. The women execute my vision with their expertise. But suggestions are, of course, welcomed and implemented to ensure a healthy working relationship. For centuries, the women of these villages have not had any exposure to the outside world, yet the vibrant and beautiful colours and fabrics they create are legendary. The secret of any craft is to first look around and then within to create a masterpiece.

What kinds of challenges do these women face?

They are always keen on working but problems arise when there is a marriage or death in their families. Since they have deadlines to meet at work, it sometimes becomes inconvenient for them.

In what ways do the Middle East and India influence your work? Which way are you inclined more often?

Since I am both, a Kuwaiti and an Indian, cultures of both countries influence my work and me. I love the vibrant, rich cultural diversity India has to offer. The fabrics, the colours the motifs and textiles, all have an impact on my work. The I Love Jaisalmer project with rural women has greatly influenced my outlook towards life. As for Kuwait, its water runs in my veins. Embroideries and textiles from the region inspire me and the concept of veiling and draping comes from that.

What aspects are important to you as a designer?

It’s important to be creative and yet stay focused on the business aspect of fashion, keeping in mind one’s social responsibility. My designs are practical and functional, they are glamorous yet conservative, allowing women to feel empowered, without necessarily being too showy.

Nilima Pathak is a journalist based in New Delhi.