First impressions of 'Embroidery Traditions of Afghanistan' from the Karun Thakar collection

‘Having worked in the area of carpets and textiles for over 30 years, it has always been curious to me that Afghan carpets and textiles were never part of the currency of trade or collecting that I came across. In fact, I would find it quite difficult to discuss any cohesive group of Afghan textiles based on my own experience, that was until I was shown the collection of Karun Thakar. This made the exhibition at SOAS a much-anticipated event.

One of the greatest strengths of the Thakar collection is that he has collected material in groups, therefore offering the opportunity to look at and compare multiple examples of textile typologies first hand. Therefore this exhibition seemed to me to very much be an introduction to the subject which deserves a much larger museum exhibition.

I hoped that the show would reveal to me what Afghan textiles are, filling that gap in my knowledge. However, what it did in fact reveal is that of course there is no single dress and material tradition of this complex nation, and that Afghanistan is made up of a rich and varied patchwork of textile traditions; traditions which have now disappeared and that have been little considered and not at all collected by institutions. This exhibition, and only one or two older books, shine a light on a little known, but vibrant and colourful world that is quite the opposite today’s image of Afghanistan.

Perhaps the reason why I was unaware of many of these traditions is that a lot of the techniques and designs are reminiscent of traditions from the neighbouring areas, and therefore without comprehensive cataloguing and clarity about attribution many of these traditions may very well be misunderstood or misidentified as coming from India, Iran, Central Asia, Pakistan or Balochistan.

What is clear to me is that this exhibition is the first word rather than the last word on the textile traditions of Afghanistan.’

Janet Marion Purdy, Barbara Franke Associate Curator, Textiles, Art Institute of Chicago

‘I was absolutely thrilled to learn from my colleagues at V&A that ‘Embroidery Traditions of Afghanistan’ would be on view at SOAS gallery during the same period as the exhibition I curated at the Art Institute of Chicago, ‘Embroidered Traditions from Morocco to Afghanistan’. Firstly, it is rare to see strong coverage of these rich and complex regions, especially in two venues in Europe and America simultaneously. And secondly, I knew the depth, range and knowledge shared at SOAS would be an important extension of what are just a few examples of Afghan embroidery that we could we could only touch on and exhibit in Chicago.

SWANA in general and Afghanistan in particular are both areas where there is still much work to do in documenting textile and dress traditions and histories. For me, an art historian and curator just beginning to acquire and research in Afghanistan, it was a true education to see part of Karun’s collection in person and up close, with such a variety of works and artistry.

I was especially interested in the Pashtan women’s cuffs from northern Afghanistan, and the opportunity to really examine the coin embellishments, which relate to a multidisciplinary research project I am collaborating on with conservation and numismatist colleagues from my institution. Also important were the three Pashai men’s shirts from eastern Afghanistan, thoughtfully displayed to highlight not only the remarkable, embroidered designs but also the form of the more unusual version with extremely wide sleeves.

With this range of exquisite works on view, we as visitors—especially those of us who have not yet visited Afghanistan—can really begin to see the visual and intangible connections made across the country and surrounding regions through creative exchange, access to materials, and expressions of different identities. There is no substitute for being able to get up close and really look at details and materials in person like this. I join the call made by Karun Thakar and the V&A to encourage others—especially those with families or personal histories tied to these cultures and regions—to pick up the threads that have begun to take shape through these two exhibitions and to continue to add to their important cultural and artistic knowledge and histories.’

Jeff Spurr

‘In 1984, I came upon an extraordinary cape being sold by an Afghan gentleman who had a shop in the Village in New York. He could only tell me that it was from his country. Some years later, one was published in a guide to Afghan textiles (Dupaigne & Cousin, 1993, p.71), but illustrated upside-down! At least, it was identified as Pashtun from Badghis. Only upon visiting SOAS gallery and seeing Karun Thakar’s amazing display of them could I gain a true sense of this rare and wonderful group as a whole. Many Afghan textiles, such as these, have a somewhat rude but compelling vigor in their decoration though that quality is complemented by the impossibly fine embroidery on the best Hazara pieces.

An even more obvious contrast to this strong decorative trend and a revelation to this writer is provided by a group of shirts created by the Pashai (Pashayi), an obscure Dardic-speaking ethnic group living in a few mountain valleys in Eastern Afghanistan. These demure yet complex objects involve weaving, quilting of two levels, and embroidery in a variety of stitches. Perhaps their very subtlety, largely in two tones, dark and light, has caused me to overlook them before, but they repay examination with care since they exhibit just enough difference, one to the next, to excite interest. One maker broke the mold by adding red to this mix, hiding her light under a bushel no longer.’

Members of the public

One member of the public described it as a ‘glorious collection and interesting displays’, while another praised it as ‘a beautiful celebration of crafts (wo)manship’, adding, ‘Thank you for enabling these skilled pieces to be presented and honoured’. A further visitor remarked, ‘We've left gob-smacked. It's really quite hard to comprehend the sheer level of craftsmanship and dedication. Wonderful designs. So special to see the stitchwork close’.

Don’t miss Embroidery Traditions of Afghanistan, on display at SOAS until 19 September 2026. Head to the SOAS website for further information about the exhibition.