Zahra Arif Lotia Dissertation

Transcription

Rida's Contribution to the Textile Cottage
Industry
By
Zahra Arif Lotia
Indus Valley School of Art and Architecture
2011
Rida's Contribution to the Textile Cottage Industry
By
Zahra Arif Lotia
This thesis submitted is partial fulfillment of requirements for the
degree of BACHELOR OF TEXTILE DESIGN, from Indus Valley
School of Art and Architecture.
Internal Advisors: Uzma Zubair
Arshad Faruqi
External Advisors:
Department of Textile Design
Indus Valley School of Art and Architecture
Karachi, Pakistan
2011
Zahra Lotia 1
Acknowledgements
I would like to start off with thanking God Almighty. My sincere gratitude to His
Holiness Syedna Muhammad Burhanuddin (TUS), without his guidance this study would
have been non-existent. I would also like to thank my mother and father and my friends
Ali and Sarah without whom this research would’ve never been possible. Furthermore,
my deepest regards for my teacher Uzma, who assisted me whenever required. Lastly, my
gratitude to all the interviewees for giving me their precious time and making this
research possible.
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Table of Contents
S.No
Contents
Page No
1
Abstract
3
2
Introduction
4-6
3
Literature Review
7 - 15
4
Research Methodology
16 - 19
5
Findings and Discussions
20 - 30
6
Conclusion
31 - 32
7
Appendix A – Interviews
33 - 53
8
Appendix B – Glossary
54 – 55
9
Bibliography
56
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Abstract
The dissertation proves to define the economic contribution of Rida making
towards the cottage industry of Pakistan. A Bohra community, which is a minority, is
studied before the topic of the dissertation could be discussed in order to gain knowledge
about the roots of Rida. It takes in account the significance of this cultural dress which is
restricted to a community and is an alternate form of Pardah. For the purpose of this
research seventeen interviews were conducted from five different groups of people
(mullahs, students, traders and fashion designers and critics) which contributed as the
main source of information as there is limited archiving related to the topic and with the
help of some authentic articles on the internet research was concluded. The research
concluded describing substantial data to prove that Rida making industry is growing
significantly over the years as more and more designs and variety are available in the
market which greatly benefits the socio-economic condition of the community but is
contributing at a comparatively smaller level to the massive cottage industry of Pakistan.
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Introduction
While I was strolling through a park, lost deep in thought for my dissertation
topic, I passed by a woman with a bright, wide smile, dressed in a white two piece
garment with beautiful embroidery, which made her stand out in the crowd; that led my
eyes to follow her. The cool breeze flew her clothes around but she still was jogged
gracefully in it. She was wearing a Rida. This scenario probed me to question why Rida
is such a mystery to most people. I therefore decided to look into it deeper which
eventually led me to base my dissertation on “Rida” as I could relate to it easily and
research about it.
Rida is a garment with two pieces of clothing. The upper garment resembles a
poncho that extends towards the naval. It is attached to another piece that resembles a
scarf. A small “U” shaped piece of cloth is attached to the scarf shaped, on the head side,
that can be use to cover the face, whereas the lower garment is in the shape of a loose
skirt. The upper part covers the upper body from the head to the wrist, while the skirt
extends till the heel. It is an alternative form of the Burqa.
A Burqa is piece of garment that is used by Muslim women to cover themselves
in social gatherings, bazaars and other public places from the eyes of non mehram men.
There are many forms of Burqa that are done by Muslim women all around the world of
which Rida is one that is worn by the women of the Dawoodi Bohra community.
Dawoodi Bohra’s are from the Shia sect of the Muslim community, after the
Prophet (PBUH), they follow the Imans starting from the Caliph Maulana Ali Ibne Abi
Talib SA till the occultation of their 21st Imam Tayyeb. Afterwards the headship was
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transferred to Dai as representative of Imam which is continued up till now.1 The first
Dai was from Yemen. The Bohra community is a strict follower of the Fatimid Caliphate.
“Satisfaction of one’s curiosity is one of the greatest sources of happiness in life”.
(Dr. Linus Pauling.)
The purpose of my dissertation is to seek answers to the questions that are asked
of me several times related to Rida, but I am unable to answer them due to my lack of
information. Other then benefitting myself I think, with my dissertation, I can serve
people who are passionately curious about this piece of clothing with knowledge about it.
The main purpose behind my dissertation is that there is no solid written piece of work
available regarding this topic, and through my dissertation I can contribute towards
slowly making information about the Rida more widespread.
My dissertation is based on the fact that the Rida has now become a major part of
the Cottage Industry of Pakistan and it is contributing to the Textile Industry in the
country.
In the Literature Review I have mentioned all the literature in form of books,
articles and journals I could find related to my topic. There was very little material
available regarding my topic and thus it is mostly based on interviews and surveys.
For conducting my research the method I chose was collecting data through the
internet, libraries and various places like Najmi Market, Bohri Bazaar, North Nazimabad
1
http://en.wikipedia.org/wiki/Dawoodi_Bohra.
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(Hyderi), and different home based shops and outlets that work under this small cottage
Industry.
The chapter on findings and discussion consists of all the interviews and surveys
that I conducted to seek answers to further my research. All of these were conducted from
people who wear the Rida and design it, or are in some way involved in the production
and distribution of it. To broaden my research I interviewed famous designers of
Pakistan, fashion critics, and people who see women wearing this outfit around them. I
have included the views of other people and designers to come up with a broader
perspective on what they think about it.
The purpose of my dissertation is based on finding an answer to the question:
‘How is the Rida contributing to the Cottage Industry of Pakistan?’
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Literature Review
In a book written by Jonah Blank “Mullah’s on the Main frame”, the author talks
about the Bohra community, their belief systems and their approach to the modern
lifestyle. He mentions that the Bohra’s believe in “benefiting from the western societies
without being enslaved by them, and that deen (religion) and Duniya (the secular world)
must coexist within us in harmony” (Blank). Thus he states that only a community that is
open to modernity yet has the idea of tradition, be revolutionary. He points out that the
whole of the community strictly follows the guidance given by the Dai-al-Mutlaq, His
Holiness Dr. Syedna Muhammad Burhanuddin (TUS). Whatever he says is followed and
obeyed.
The book starts off by giving a brief history of the community by saying that it is
a sect that originated from the Ismaili Shia’s from Gujrat and is comprised of the
followers of the Fatimid Caliphate. It gives a detailed guide through the formation of the
community from the time of Hazrat Ali till date and the sacrifices it made in history to
survive its heritage. The rituals that are followed from birth to death, and the dates that
are important in the Bohra calendar, are all listed. He even talks about the status of
women within the Bohra community, by interviewing two women. The first woman is
Zubeda Gunja, who talks about education for both males and females as a major factor
for development. Though being a very wealthy woman, she preferred a simple living, in
her own community. The other woman was Diya who referred to Bohra women as
“butterflies, for their bright colored Ridas, that flap in the wind”. She feels that Bohra
women enjoy significantly more freedom and higher status than women in other Muslim
communities.
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Blank talks about the royal family, their Palace lifestyle, Ziayart (an imp. ritual of
the Bohra community which is the visiting of the shrines of the Dai’s), the perspective of
the public on the royal family, the journey of the Dai and Bohra marriage rituals. The
book also talks about the Dai’s guidance to his followers in every phase of their lives, in
illness, business advice, etc. It talks about Bohra ownership over technology, stating that
Bohras were amongst the very first Muslims to take advantage of the internet through
computers and cell phone updates. The author also talks about the emphasis on the beard
for males in the community.
When a person is dressed in a Rida or topi (an intricately embroidered male head
dress), he or she is immediately identified as a Bohra.
Syedna TUS advises his followers to start their own business rather than being an
employee He states that the Bohras are primarily a business community. Nearly threequarters of the households in the Bohra community are businessmen or shop owners and
this might be the main reason that explains why they open to new ideas. He talks about
the Islamic banking system in detail where and how is it implied.
The Bohras prefer working in the textile and the agriculture industry. The large
clothing store Zaibaish (Bombay) is owned by Bohras. Some are even land owners.
The Bohras integration of tradition and modernity is more striking in the field of
education. It has its own Burhani Madrasas for Bohra students ranging from preschool to
high school providing modern knowledge.
In a nut shell, the Bohra community is defined by those who accept Syedna’s
absolute authority over both spiritual and secular aspects of life. Jonah Blank stated that
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in the late 1970’s and early 1980’s Syedna Muhammad Burhanuddin issued several
guidelines for his followers regarding dressing, in which he stated that male Bohras
should have a beard, wear a white topi, kurta and sherwani (optional, a type of overcoat
white in colour, made of the same material as the kurta) and female Bohras should dress
in Rida. By doing this Bohras have tried to purify their ritual behavior, and through
language and dress have established a distinct identity as Muslims.
Before the 1970’s the ladies of the royal family were allowed to wear saris in the
confines of the Saify Mahal (the Palace). Men at home would wear a knee length kurta
with trousers, and a white cotton skullcap, whereas outdoors, they wore a small white
turban. Women on the other hand, wore cotton or silk scarves with a tight silk bodice
with a silk jacket or silk petticoat, leather or wooden shoes and a dark silk burqa outside
the house. In Sri Lanka, men used to wear a gold feta with sherwani and women wore
long skirts, with a blouse and dupatta covering the head.
Since 1981, white kurtas and sherwanis were adopted by Bohra men. They were
required to wear white pajama trousers, with white knee length kurtas, buttons with
detachable studs and a white sherwani coat on it. A recent development has also given
option of a pairan (familiar to mughal dress in white colour). There are different types of
headgear from which a pure white with golden zari work is worn by the men. The color
of Bohra male attire is always white because it is the color of purity and it is said to be
the color favored by the Prophet. It is easily distinguished by the men of other
communities who prefer wearing black.
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Bohra women have more options than Bohra men. They are required to wear
Rida, which covers the hair, neck, shoulders and chest, but leaves the entire face exposed.
The Rida also has a flap attached to it so that if the woman wishes to cover her face. The
pattern of the Rida is the same but there is a wide range of colorful, bright designs that
leaves room for individual taste. Boutiques in many Bohra communities offer wide
ranges of “fancy Rida”. This dress immediately sets Bohra women apart from the rest of
the Muslim communities. At an important religious/ social function, women might wear
upto two to three different Ridas per day, depending on various functions. It has been
observed that previously women used to wear saris before the 1970’s. Both men and
women are strongly encouraged to wear the “community dress” at all times in their daily
lives.
To conclude Jonah Blank says that, “the unique style of the dress is a continual
reminder of identity”. 2
During the past few years there has been a drastic change in the Bohra community
that requires more and new styles of Rida’s that have given rise to a new form of Cottage
Industry in Pakistan. Because of this need there are many women in the community who
have started to work professionally as Rida designers.
In an article, by Sabeen Jamil, she talks about a Bohra woman named Tahira
Bhen Petiwala who is the owner and designer of “Jamali Shaadi Shop”, in Najmi Market,
Karachi. She points out that Mrs Tahira is contributing towards this new form of cottage
industry in Pakistan. Sabeen discusses how the designer made her way in to the industry
2
“ Mullas on the mainframe” by Jonah Blank.
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and how she works according to the demand of the customer. She also uses statistics to
prove that the demand for such an industry is growing day by day and compares the
Pakistani market for Rida’s to the market in India. She also talks about the demand of the
international cliental from her work.3
This particular “Tag” of the shadi shop is considered branded in the community
so I have taken into consideration this specific mark to conduct my research. I also visited
and interviewed the owner of this brand which I’ll be further discussing in my research
and findings.
During my research I came across a site, which is based in Mumbai, India and is
owned by two Indian Fashion designers Farhat M Hami and Tasneem M Hami. They
mention that with experience of 15 years in the Textile Industry, they feel that besides
designer bridal wear, ladies kurtis and shalwar kameez, there is now a demand for
designer Rida in the Bohra community. The website provided me with information about
different processes through which the Rida is designed. It also gives a brief introduction
about the invention in the 70’s by the then present Syedna. For the followers which lead a
lot of Bohra women into this industry, it states that this garment has undergone many
changes since the time it was originated. Before the invention of this garment Bohras
used to wear the normal black Burqa and saris. With recent statistics it states that 90% of
the Bohra women, including young college girls adopted the Rida as their daily wear4.
3
http://jshadishop.com/index.php/dawoodi-Bohra-blog/Stitching-her-way-to-success
4
http://www.indianfashiondesigners.co.in/dawoodi-Bohra-Rida.html
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This article talks about India’s contribution to this Industry that helps me broaden
my research as India and Pakistan are the major countries where it is been made and
practice.
Another site that I came across that provided knowledge about the latest Indian
Rida designs from Burhanpur, Mumbai known as the Bombay Rida boutique. It
advertised different types of coordinates like dupattas, maselah(prayer mat), bags and
various other accessories with it to make the Rida more attractive.5
In an article by Fatima Shabbir, the author starts off by sharing her own
experience of an incident that occurred on her way back from work when she came
across the houses of Bohra community dressed in lights on the 100th birthday of their
beloved 52nd Dai, Syedna Muhammad Burhanuddin. Every house had a framed portrait
of the Dai. This occasion led all the ladies of this community to make new Ridas for this
joyous occasion. With an interview from Rashida, a young housewife she mentions that
each woman of the community made upto 12 Rida’s for themselves.6
This article helped in putting an estimate to how much demand it asks for during
the peak time of celebrations or occasion like Muharram or Ramzan.
During my research I came across a booklet called the “Burhani Centennial Trade
Expo” based on the celebration held on the 100th Birth anniversary of his Holiness Dr.
Syedna Mohammad Burhanuddin (TUS) recently on 28, 29, and 30 January 2011 at Expo
5
http://Ridaboutique.webs.com/
6
http://tribune.com.pk/story/137253/Bohra-communitys-spiritual-leader-turns-100/
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Centre Karachi, in which many Bohra Rida designers, displayed their work. A few of
them were, Burhani Collection by Marias, who deals in ready to wear jabla izar (dress
worn by young Bohra girls), topi, Rida, t-shirts, socks, imitation jewellery and order
works, including baby products and kitchen products such as beddings, etc.
Another collection was named Burhani Collection by Tasneem & Huzefa who
manufacture and deal with bridal suits, Rida’s, jori and jabla izars etc. Zeenat Creation
also contributed works of ladies stylish hand bags, party purses, office purses, wedding
pouches and handy purses with different variety of Rida’s.
Nikhar Collection by Sakina Shabbir Hazari comprised of a collection of best
quality hand bags, clutches and Ridas.
It is stated that His Holiness (TUS) ask his followers to be self employed and self
sufficient by practicing interest free trade and business. In an article His Holiness writes
“We encourage our followers to engage in trade, commerce and manufacturing.
We encourage them to embrace modern tools of business, including education,
technology and international collaboration. But at the heart of every business lies a core
of traditional values based on the principles of Islam- of fair business practices, strict
adherence to the laws of the land and social responsibility.”
Ones dress reflects ones thinking and beliefs and is a major component of one’s
identity. In accordance to the Holy Prophet’s (PBUH) Sunnah, His Holiness (TUS)
encourages his male followers to grow a beard and wear a topi and women follwers to
wear Rida’s to preserve their dignity. These are the trademarks of a true Bohra.
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His Holiness (TUS) has always emphasized that the community should be
business minded rather than job minded. The world has witnessed efforts made by His
Holiness (TUS) towards the economic progress of the community.
“Through this event, our intention is to gather all sorts of businesses on one
platform, reflecting our identity as a business community. As a business community we
have not been held back by any geographical boundaries, reaching out far and wide, yet
we have held on to our identity.” 7
This particular broacher consisted of information regarding the event held in
January in Expo centre Karachi. It emphasizes on the fact that this particular community
is very business minded and open to new thoughts and ideas. This concludes that it can
be stated as a business community.
In a dissertation by Ibrahim Ahmed Ali on “Bohra Culture,” he mentions that in
earlier times the women of the community used to wear “Ghagra Choli” which is now
transformed into Jodi.
There is a lot of different work that is found on this garment that includes Indian
work, Zari work, mirror work and Gota work. One thing that has not changed is the
Gujrati and Rajistani style. Other than this, he talks about the different materials used in
the making of this garment that includes cotton, linen and jorjut etc. Black colour is
usually avoided. Various works include a variety of floral motifs with different coloured
threads, done with machine or hand embroidery. In this the colours vary from contrasting
to monochromatic shades. Falisha work is a type of hand work in which the material is
cut according to the shape of the design and worked upon using different threads at a
7
Burhani Guards Trust (PAKISTAN)
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time, and pasted on the Rida according to the design. Crochet work, which is done using
handwork as well as machine, is used to give a border or add another layer to it. Lace
work is a very important element as a Rida looks incomplete without it. It is used to give
a finishing touch. Ribbon work is beautifully folded and interesting patterns are created
through it. Charsooti work, Sindhi karhai, Balochi work and Kundun work are commonly
seen.
Bohra textiles are moulded according to the fashion trends of today. They have no
restrictions about colour or design as long as it follows the teachings of Islam. Not only
have they explored themselves in the making of Rida’s but also designed everyday usable
objects like Bundhan (a small, plastic briefcase) used to store clothes to prevent them
from dust and insects. Even men’s attire include a little embroidery of white and offwhite with silver or gold zari on the neck of the kurta and sherwani. The topi’s are made
by women by using the technique of crochet. Colours are restricted to white and golden.
Red and green can also be used as an accent. It takes around three to four days to finish a
topi. Floral or geometric motifs are used to design it. Thick golden zari threads are also
used. The finishing is usually given with a zig-zag edge to make it beautiful.8
The introduction of Rida opened up a whole new world of business opportunities
to the member of this community. This entire industry was born which encouraged
creativity, ownership business sense etc. It has led to a stage where now it can be
regarded as a small cottage industry because of its contribution to the economic life of the
Bohra community.
8
“Bohra Culture” by Ibrahim Ali, Department of Textile Design 2004. IVSAA
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Research methodology
This research aims to provide information regarding the increasing contribution of
Rida to the cottage industry of Pakistan. Before I directly move on providing evidence for
the research question, I plan to provide knowledge specifically about this cultural dress
and a brief detail about its history. For the course of this research, I gathered information
using primary data which includes interviews from Islamic scholars and Mullahs,
renowned fashion designers and critics, teachers and traders of the Bohra community.
Whereas secondary data was collected from the book, “Mullahs on the Mainframe” by
Jonah Blank’s and some relevant websites on the internet. Thus the essential sources of
information in this dissertation are the interviews, brochures, website articles and the
literature taken from book.
Literature review in this dissertation educates about the Bohra community and the
significance to the wearing of this dress. As there is very limited reliable information
available on the internet, magazines, journals, books and newspapers I had to resort to
interviews from truly authentic Bohra women traders and designers who filled in with
data about the prevailing economic contribution of Rida designing and stitching not only
to the community but also working for the social welfare by economically developing the
cottage industry of Pakistan.
As i have mention before that there is very less material available regarding my
dissertation thus the most of my dissertation is based on the interviews and surveys
conducted. A lot of information was grasped through reading various researches on the
internet and open discussion forums for general public. World Wide Web was definitely a
great source of acquiring information. Books from the library in Jamea Tus Saifiyah were
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difficult to relate to as most of them were written in Persian or Arabic and could only be
translated by the students or the graduated mullahs.
The people I chose to interview were the Mullahs who gave me a brief knowledge
of the history of the Bohra community and helped me with findings through history of
the invention of Rida. Secondly, Rida designers who gave me information on different
types of work that is being done to adorn this garment and the workers who decorate it
according to their instructions. Thirdly, Rida traders, some of these women usually order
finished products from Rida designers in cities like Multan and Hyderabad and sell it of
in Karachi or export it internationally which promotes the local craftsmanship and tailors
who stitch it according to the various sizes of the customers. Lastly, famous designers
and critics of Pakistan because I thought it would be great to have their point of view for
this garment and any suggestion from them to have innovation in its styling.
I started off with forming structured questions, but realized that during the
interviews it was such an intense topic thus I had to mould my questions according to the
response of the interviewees as they were all specialized in their own fields. So my
interviews are unstructured but keeping in view the research topic.
During my course of research I struggled for few people whose work is labeled as
“Designer Wear Ridas” as they are usually found out of town exhibiting internationally
for example Farida Marvi who has been working with a history of 25 years. She was the
best of all my interviewees in providing me with knowledge about her work and the
demands of this work in the market. She also mentioned that another famous woman
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known as Rizwana Tambawala has been working specifically in block printed Ridas for
the past few years. She is known to be the best of block printers within the community.
A problem that I faced during my research was that not even one of these women
allowed me to interview their labourers for my research thus whatever information about
the labourers is provided here is what I have been informed by the women designers. Due
to this reason most of them hesitated in giving out exact labourer cost.
Another key problem was the language barrier as most of them were not able to
talk in English and couldn’t understand the interview questions. Thus almost all the
interviewees have been translated to English language from either Urdu or Gujarati
language. Some respondents did not participate actively and provided with vague
answers.
While interviewing the biggest disadvantage that I faced was that as the
respondents got fascinated by the topic most of them got deeply engrossed and lost track
of the prime focal point and provided with extra unnecessary information from which it
was difficult to get them back on track at times which got very time consuming.
There are various advantages to choosing Interviews as my research method. A
personal one to one session with these interviewees helped me in knowing the general
view of people regarding this garment and how they feel about it. This gave me
opportunity to answer the question of those people who want to know about it.
Zahra Lotia 19
The method of interviewing was better as the questionnaire that was made, at time
was not understood by the interviewee due to the lack of reading capabilities, therefore it
was easily understood and explained to the interviewee on the spot.
Since my pool of respondents was relatively small therefore I could give personal
time to every interviewee to come up with the best answers.
The major shortcomings of conducting interviews with the Bohra women was that
100 percent accuracy of information is lacking as there in no relevant piece of
information ever published that would provide data related to Rida’s economic
contribution. However, many of my respondents had carried out their own research
before venturing their businesses therefore results hope to exhibit some level of accuracy.
Zahra Lotia 20
Findings and Discussion
The business of Rida making and selling and in some cases exporting is a recent
development in the textile industry of today. Islam does not restrict women in wearing
black colour all the time. In fact at the same time it defines her as a “symbol of beauty”, a
symbol of flowers, where she spreads her beauty and fragrance (Blank). It serves the
purpose of covering that is not defining the shape of one’s body but with the satisfaction
of a woman’s urge to decorate her.
On an internet article the significance of hijab is mentioned. It states that burqas
or abayas or different sorts of veil are being used for modesty by women not only among
Muslims but Hindus and other cultures as well. What is noteworthy is that while the
Prophets numerous wives practised modesty by covering their body; they never ever
covered their faces in the manner which is enforced by some overzealous Muslims today.
It is also important to remember that modesty is enjoined equally on both men and
women, as per Islamic beliefs. The Quran absolutely does not discriminate between them.
If a virtuous man ever encountered a woman who directly looked at him, it was enjoined
that he would lower his gaze. The purpose of Rida is the same.
Rida is only worn by the women of Bohra community. For this reason,
there are some disadvantages to the small cottage industry, for one; there is less potential
for growth; this is because it is restricted to a minority of people. Secondly, there is a
very small market for this garment internationally, as the only people who wear it are
those who belong to the same community.
In order to take my research further, I consulted the Rida designers of the
community regarding the look of the garment. They informed me that changes to the
Zahra Lotia 21
pattern of the Rida cannot be made because it has been designed by the wife of the leader
of Bohra community; however there is leeway to change and incorporate interesting
design elements and motifs into the garment in the form of embroideries, patchwork, and
embellishments among other elements. In this way, the style of the garment remains the
same; however the surface details keep changing. I also inquired about the colour palette
that is pastel and light colours preferred for Rida and the reasons behind it being soothing
and comforting. Although these days bright colours are worn by many teenage girls still
there is a lot of preference given to light colours, due to the weather conditions.
Rida not only provides sustenance to many workers who are associated with
stitching and various crafts but is also a source of promotion of local crafts abroad which
is highly appreciated. For example, Rasheeda Imran Derawala, gets Multani embroidery
done on Rida’s and she then sends it to various parts of the country. Her Ridas are then
exported to America, Canada and various international destinations where there is Bohra
population. This helps in the promotion of local crafts.
In an interview with a Mullah, Mustafa Jackwala who has also been a principal at
community school provided me with a brief history of Rida where he mentioned that it
was introduced to public in 1970’s but was already been used by the royal family before
the 70s. Everything that the Bohras do is an example given or instructed by the Royal
Family. They mentioned the fact that it was designed by the wife of their beloved
spiritual leader, Syedna Muhammad Burhannudin. It was introduced as an alternative
form of burqa and to distinct themselves from the rest of the cultures. It started from
India as it is the mother country of the Royal Family.
Zahra Lotia 22
Continuing to the statement above, two students belonging to Jamea ul Anwar
were also interviewed; Zainab Rassawala who is still a student and Durriya Mustansir, a
graduate. They were of the view that Rida brought a revolutionary change to the
community put forward by the Royal Family. It was introduced as distinct representation
of the community. Furthermore, she added that it was adopted in the early 80’s and was
very fast accepted by women as it fulfilled their urged to decorate their clothing as well
as fulfilling the purpose of doing a hijab. It was instantly taken as a profession by many
women to embellish this garment and earn a living.
In support of above statements one of the books from the library in Jamea ul
Anwar stated that the Rida was introduced to the community in the 70’s but was
restricted in the 80’s for all the Bohras. Before the invention of the Rida, women would
wear scarves, a tight silk bodice, with petticoat and blouse or a dark silk burqa with veil
on the face through a small net opening. Some of the places like Sri Lanka and Africa, it
was observed that the women would wear their cultural dresses like sari’s, skirts and
shawl covering the head.
In 1970’s during a discussion on how to incline the followers more towards
religious practice and make them better Muslims, a norm was passed in which the women
of this community were asked to dress themselves in this form of garment, which was
already been practiced by the royal family. This was introduced to the public to have a
separate identity amongst the Muslims which lead to an easy way of recognizing the
Bohra women from rest of the world. They even mentioned that it was easily adapted by
many women followers as it provided a wide range of colour and creativity to explore,
with the purpose of covering. This invention helped a lot of women of who wanted to
Zahra Lotia 23
support the family income, by working in their own pace of time which has now become
a part of the cottage industry.
Mrs Farida Ameer in her interview said that with this business she can easily help
in contributing to her household income and help her husband in times of recession. She
enjoys doing this job and learn a lot from meeting different sort of people and getting
involved with different craftsmen.
Mrs Karbalai was very fond of the work that she produced and was very
encouraging for the labourers working for her.
While interviewing Mrs. Tasneem Ghatila, she stated that the processes is not
only restricted by economical factors but rather it tells us a lot about the buyer and the
maker, the colours, the type of work, the embellishments all together forming a like or a
dislike for the piece by both. If the designer does not appreciate its own work and will not
be satisfied and happy with it, the piece will lack something. The same feeling goes with
the buyer; she wouldn’t buy something that does not attract her eyes and feel good about.
This concludes that this art is very competitive. Mrs Tasneem Ghatila also talked about
the fact that Rida making industry has given a chance to women for earning and
supporting their homes. Some women find leisure in designing and trading Rida.
Another designer Yousuf Petiwala, son of Tahera Petiwala, the owner of the
“Shaadi Shop”, during the interview said that in order to add onto its product they create
sets and coordinates for the Rida. That includes the maselah (prayer mat) set and added
on by saying that their products are exclusive and one piece. Their product ranges from
Rs. 1,500-45,000 depending on the work and unique style of its design.
Zahra Lotia 24
After taking out an estimate of all the Rida designers and people contributing
towards its making, it can be stated that there is a lot of earning and appreciation is
attached to it but sadly very limited as it is community bound. Furthermore, Mr. Yousuf
informed that it is truly a remarkable achievement for the Bohra community who have
helped provide jobs to over 40,000 labourers both skilled and unskilled in Karachi only.
Rasheeda Imran, a designer from Multan, on her telephonic interview stated that
she earns about Rs. 6,000 to 8,000 tax free income. Besides providing her with pocket
money, it also keeps her busy during the day.
A very famous Rida designer, Farida Marvi who resides in Karachi and has her
Ridas flown all over the globe is a major exporter of designer Ridas. She proudly states
that her contribution has helped many unemployed skilled and unskilled labourers earn a
decent livelihood. She has 25 people working under her who collectively earn Rs. 35,000
– 40,000 in two weeks. She is an active designer and trader who sells high end Ridas.
Besides Rida making, she makes other cultural garments that are required for holy use.
During the discussion, she talked about different types of embellishments that are
being practiced in designing of the Rida. These are, hand embroidery, machine
embroidery, lace work, Sindhi work, cross stitch, , patch work, appliqué, shawl work,
ribbon work, piping work, jute work, Balochi work, mirror work, hand painted, screen
printed, block print and hand work (khatli,), with various materials like salma sitara,
dapka, kora, gota, moti, metal, etc.
Zahra Lotia 25
Zahra Lotia 26
Zahra Lotia 27
The books from Jamea, were difficult to translate thus this is the only relevant
information that was available. The Rida was introduced to the community in the 70’s but
was restricted in the 80’s for all the Bohras. Before the invention of the Rida, women
would wear scarfs, a tight silk bodice, with petticoat and blouse. Or a dark silk Burqa,
and veil the gace through a small net opening. Some of the places like Sri Lanka and
Africa, it was observed that the women would wear their cultural dresses like saris, skirts
and shawl covering the head.
Student of Jamea, Durriya Mustansir commented on the incident where a woman
was put to jail In France while practicing her religion by wearing a veil, she said
“Freedom of clothing is a basic right, moreover religious freedom should be respected by
all states”. She also added on by saying that Rida is a cultural dress and an identity of the
Bohra women. It is very comfortable and is aesthetically pleasing and more over it places
a religious value above us which is guided by our spiritual leader. Zainab Rassawala,
another student of the academy commented on by saying that Rida is comfortable, secure
attire. Wearing a Rida automatically gives you respect from others. It’s fashionable and
comfortable at the same time. It can be worn while horse riding, cycling, swimming, etc.
“I wear Rida all the time, but not at home or in front of “mehram” or immediate family
gatherings. It’s my own decision, whenever I want to wear it. It does gain attention, not in
Pakistan but in foreign countries, not the body but towards the dress. If every person
respects their own culture, and we do respect other culture’s as well… it is an
identification of our community.”
Zahra Lotia 28
While interviewing the designers, Yousuf Bashir Qureshi said that he thinks of it
as a brand within the community. It is an individual’s own identity. It is also a very
strong style statement. There is nothing wrong with the Rida as everyone has the freedom
to practice their own beliefs. “It’s about appreciating the embellishment and not the
body.” I think it is a brand within the community; it gives them the opportunity to
conduct business to earn and sell among themselves, which automatically helps in
improving their economical standards. While Adnan Pardesi stated that the cottage
industry of Pakistan is the backbone of the economy of Pakistan. Although its still in its
developing stage, it is slowly becoming bigger and are doing a lot of good work. It looks
like the cottage industry has a promising future. Whereas Rida is a truly fantastic
innovation, it reflects Bohra culture. The dress is innovative and is perfect for the needs
and requirements of Bohra women. Nowadays abayas are colourful and embellished. He
referred to abayas as a coat than a form of covering. And it’s more a form of fashion then
just a covering garment and the Rida serves both the purpose.
Deepak Perwani gave a brief definition of cottage industry by implying it to the
contribution of Rida on the cottage industry, and said that cottage industry is one which is
not a formal industry. It is a small industry based on rural development. It is a major area
for women employment. He said that he was glad that women of Bohra community were
so active in upbringing their livelihood by doing home based business.
While interviewing the journalist; Hani Taha, who said that it is a rather creative
form of a burqa that allows women to express their individuality and design aesthetic
garments alongside practicing a socio-religious norm of purdah. It gives countless
women who are skilled artisans a steady mean of income. In fact the top floor of Rabi
Zahra Lotia 29
centre in Tariq road are running successfully due to Bohra women demand for cloth and
lace.
Zurain Imam another journalist shared his personal thoughts and in a puzzled state
asked why the women of the Bohra community would wear these often brightly coloured
and decorative Ridas when the probable purpose of a hijab or any other body covering
for women was to preserve a woman's modesty and conceal her anatomy from the lustful
glares of men. However he justified that the Rida does the job of concealment perfectly.
Men stare at women in a Rida or bikini regardless! He questioned the reason why
colorful and decorative Ridas were encouraged by the leaders of the Bohra community
was to set them apart and be distinctive from other Muslim communities. Also the
addition of lace, beads and sequins is a way for Bohra women to experiment with their
creativity and give into their femininity made him attract more to it. However, he claims
by saying that some of his Bohra friends talk about Karachi socialites flaunt their
designer clothes the trend of decorative Ridas also encourages women to establish a class
and status consciousness where trips to the mosque become a daily show of flaunting
one’s wealth and competitiveness. There are now even lucrative designer Rida businesses
afloat and Bohra women are often pressured to buy the latest Rida fashions to keep up
socially and fashionably.
Talking about its demand that claims there is a huge demand for Ridas as it is
considered compulsory for women from traditional Bohra families to don this garment.
So in this respect a whole sub-industry where many yards of fabric and embellishments
are used for this specific garment and made by memsahibs from their homes constitute
the creation of Ridas as a veritable cottage industry.
Zahra Lotia 30
Moiz Kazmi, another journalist commented as a part of their culture, part of their
beliefs, a ritual. It a good cover for women and must be very easy to carry on days when
one doesn’t feel like dressing up.
Zahra Lotia 31
Conclusion
The Rida making process starts from the purchasing of fabric and ends on the
customer who wears it. It undergoes through a lot of processes; the fabric first is bought
by the designer and accordingly different types of work like embroidery, patchwork or
lacing is then given to the laborer to work upon. It is then exhibited through various
means like setting it up at homes and shop outlets, through exhibitions and then given to
the tailor by the designer or buyer for stitching.
Under this procedure it has contributed decently towards the Textile Industry in
the past 30 - 35 years by providing a substantial amount of employment to both skilled
and unskilled laborers from making of Rida to stitching it. Recently it has also
contributed a lot in the business of exports to the western world as it is a very cheap
investment in the east (specifically India and Pakistan).
The total Bohra population is about 700,000 (2009) globally and 60,000 reside in
Pakistan. Among them 60% of the population comprises of females out of which 15% are
minors, leaving behind 45% Bohra women who wear Ridas9. If we compare the stats
with the overall female population living in Pakistan, it would definitely produce an
unnoticeable percentage. But if we analyze the number of people indulged in the
preparation of Rida, the numbers would definitely be pleasing as mentioned by Mr.
Yousuf Petiwala.
It is sad that the community workers have not developed any sort of database or
any calculating mechanism that would show the accurate facts as to the number of people
involved in Rida making in Pakistan, the total revenue generated collectively, number of
9
http://www.dawoodibohra.co.uk/dawoodi-bohras-entering-the-professional-world/
Zahra Lotia 32
labourers indulged and annual economic growth potential. If these figures were available,
this research conclusion would turn out be a lot more effective.
However, with the information at hand and according to the research findings, I
would like to conclude that there is definitely a positive correlation between Rida and the
cottage industry of Pakistan. On scale the impact is minimal at the moment but as Zurain
Imam concludes, it has growing impact on the cottage industry of Pakistan. As per the
findings, more and more Rida designers are now involving themselves in designing bridal
dresses alongside which is also a sign that development is inevitable.
As per Ms. Zainab Rassawala, a girl would have an average of 12- 15 Ridas in her
closet and make 5 – 6 new ones every year. According to this information, one could
conclude that the demand of Rida is ever increasing also due the fact that more girls will
get their misaq done.
Hani Taha, a fashion journalist, also states that Rida makers have a vital role in
expanding business at Rabi Center, Tariq road. Hani also mentions that in one research
she visited tailors at Dhoraji Colony, PECHS and Saddar and to her surprise she found
out that there were many tailors who only stitch Bohra garments.
The above findings conclude that huge quantities of workers are indulged in these
cottage industries who earn their livelihood through Rida. Everyday there are more Rida
designers mushrooming securing the sense that there will be an increasing trend towards
the socio- economic conditions of the people associated and those who are to be a part of
in future.
Zahra Lotia 33
Appendix A
Interview No. 1
Name: Mustafa Jackwala
Location: Karachi
Occupation: Mullah
Q1. What is a Rida?
It’s a form of a burqa used by the Bohra community women to cover their body.
Q2. Describe a brief history of Rida?
The concept of hijab has been there since the time of the Babylon’s but it was always
done by the higher or the Royal Family. The women of the lower caste were never
allowed to cover themselves, if they did so they would be immediately announced death.
Thus it can be said that hijab is a garment for the royal class. It is a symbol of respect for
ladies.
It was worn by the women of Qas-re-ali, the Royal Family of the Bohra community. It
was introduced by Late Syedna Tahir Saifuddin, father of the present Dai (caretaker)
(Syedna Muhammad Burhanuddin TUS).
Q3. When and why was it introduced to the Bohra community?
In around 1400 century (1979) the first Muharram congregation by Syedna Muhammad
Burhanuddin TUS in Jamea ul Anwar during a discussion a person asked Syedna
concerning the issue of different types of clothing done by the Bohra women in the
mosque. Listening to this, one of Syedna’s sons replied, “We should encourage our
people to wear what the Royal Family wears”. Someone objected from the crowd saying
that how could we let normal people wear what the Royal Family wears? He replied
saying that we want our people to look like us and thus it became the Libas-ul-Anwar for
the Bohras.
Whatever the royal family does is a reflection of the Fatimid culture. It was introduced to
the general public by the wife of the present Dai.
Zahra Lotia 34
Q4. What do you think is the purpose behind Rida being colorful?
The different colours of the Rida fulfill the demand of today’s women. To change the
pattern according to the occasion and demands, the introduction of Jodi and LehngaBlouse is even seen. The colour black represents evil and is the colour of mourning
hence we prefer avoiding the color.
He also stated that there is no person in this world that does not need guidance, we are
bound to follow someone, and following no religion itself is a religion.
To conclude, he stated that with the demands of modern day women of wearing different
types of clothes, to colourful clothes with designing it as well as to serve the purpose of
covering.
Zahra Lotia 35
Interview No. 2
Name: Durriyah Mustansir
Location: Karachi
Occupation: Teacher
Q1. What is a Rida to you?
Rida is a cultural dress and an identity of the Bohra women. It is very comfortable and is
aesthetically pleasing and more over it places a religious value above us which is guided
by our spiritual leader.
Q2. What is the religious significance of the Rida?
The Prophet used to like colors and jewellery for women. The purpose of veil is to
protect women from unpleasant looks and attention towards their bodies.
Q3. What are your views on the recent incident in France (banning of Burqa by the
government)?
Freedom of clothing is a basic right, moreover religious freedom should be respected by
all states.
Q3. What is the Fatimid culture?
Fatimid culture is the culture adopted by the house of Hazrat Ali. The culture transcended
from his successors all the way to Duat (plural of Dai). Due to this, it has followed to us
via our present Dai, Sydena Muhammad Burhanuddin.
Zahra Lotia 36
Interview No. 3
Name: Zainab Rassawala
Location: Karachi
Occupation: Student of Arabic Academy Jamea ul Anwar
Q1. Describe a brief history of Rida?
Women began wearing the Rida in1396 Hijri, (1974-75). It was a dress worn by the royal
family since the time of the Fatimid, but gradually changed according to the demands of
the today’s world.
A Rida is comfortable, secure attire. Wearing a Rida automatically gives you respect
from others. It’s fashionable and comfortable at the same time. It can be worn while
horse riding, cycling, swimming, etc.
Q3. How often do you wear a Rida and how many do you have?
Generally girls/ women would have an average of about 12 – 15 Rida and at least make 5
- 6 new Ridas every year for Ramadan and Muharram. I have a collection of over 30 - 40
Ridas because I wear them all the time, but not at home or in front of non mehram or
immediate family gatherings. It’s my own decision really, whenever I want to wear it.
Q4. Do you think the Rida attracts a lot of attention?
It does gain attention, not in Pakistan but in foreign countries, not the body but towards
the dress. If every person respects their own culture, and we do respect other culture’s as
well… it is an identification of our community.
Zahra Lotia 37
Interview No. 4
Name: Yosuf Bashir Qureshi
Location: Karachi
Occupation: Artist/ Photographer/ Fashion Designer
I think it is a brand within the community. It is an individuals own identity. It is also a
very strong style statement. There is nothing wrong with the Rida as everyone has the
freedom to practice their own beliefs. “Its appreciating the embellishment and not the
body.”
Q2. How do you think the Rida is contributing towards the economic growth of the
Bohra community?
I think It is a brand within the community, it gives them the opportunity to conduct
business to earn and sell among themselves, which automatically helps in improving their
economical standards.
Zahra Lotia 38
Interview No. 5
Name: Adnan Perdesi
Location: Karachi
Occupation: Designer/ Business man
Q1. What is a Cottage Industry?
It is the backbone of an industrial economy.
Q2. What are your views on the Textile Cottage Industry of Pakistan?
Although right now they are still in their developing stage, they are slowly becoming
bigger and are doing a lot of good work. It looks like the cottage industry has a promising
future. Pakistan is one of the biggest contributors to the textile cottage industry. It
contributes a lot to the export of bRidals, bigger better life.
Q3. What are your views on Rida worn by the ladies of the Bohra community?
It is truly fantastic, it reflects Bohra culture. The dress is innovative and is perfect for the
needs and requirements of Bohra women.
Nowadays abayas are colourful and embellished. I take them more as a coat than a form
of covering. And it’s more a form of fashion then just a covering garment and the Rida
serves both the purpose.
Q5. If you were to design Ridas, how would you execute it?
I would love to do it. I would make the colours more flamboyant and designing larger.
Zahra Lotia 39
Interview No. 6
Name: Deepak Perwani
Location: Karachi
Occupation: Designer
A cottage Industry is one which is not a formal industry. It is a small industry based on
rural development. It is a major area for women employment.
To personalize the dress, and thank God! Black is so boring.
Zahra Lotia 40
Interview No. 7
Name: Hani Taha
Location: Karachi
Occupation: Fashion and Lifestyle Journalist
It is a home based indigenous enterprise.
It is a very healthy industry growing steadily, since art and crafts are endemic to Pakistan.
Chitral for instance has recently emerged as the “go to” place to procure indigenous
embroideries.
It is a rather creative form of a burqa that allows women to express their individuality
and design aesthetic garments alongside practicing a socio-religious norm of purdah.
Q4. What is a Burqa? What is its purpose? Do you think Rida serves its purpose of
being an alternate form of Burqa? Why?
A burqa is a garment that covers women entirely and serves to protect her from offensive
gazes of males. A Rida definitely does serve the purpose of a burqa and differentiates
Bohra women from those of other communities which also interestingly protects her from
harassment from the general populace.
It allows women to cover themselves without feeling repressed or drab that a straight
black cloak like an abaya may do.
Q6. To what extent do you think Rida is contributing towards the Cottage Industry
of Pakistan?
It gives countless women who are skilled artisans a steady mean of income. In fact the
top floors of Rabi Centre on Tariq road are running successfully due to Bohra women
demand for cloth and lace. During a research I was surprised to see many tailors at
Zahra Lotia 41
Dhoraji, Tariq road and Saddar who specifically stitched Bohra garments. The impact is
great!
I have actually been seriously contemplating of initiating a show of sorts where various
Rida designers can creatively exhibit their work. There are several designer wear Ridas in
the market.
Zahra Lotia 42
Interview No. 8
Name: Zurain Imam
Location: Karachi
Occupation: Fashion and Entertainment Journalist
In my opinion, a cottage industry is an industry where the creation of products and
services is home-based as opposed to factory-based. Products and services created by
cottage industries are often unique, distinctive and often related to crafts and are usually
not mass-produced. Cottage industries in villages often create the livelihood of many
families.
Pakistan is one of the great producers of cotton and the current craze in Lawn by
manufacturers and designers has been overwhelming. However, Pakistan also has a rich
history of creating traditional textiles which are created in a myriad of cottage industries
throughout the country with various design and techniques. The most famous indigenous
textiles include Khaddar, Susi, Khes, Chunri, Boski, Karandi, Shaal, and Ajrak. The
production of these textiles in small cottage industry facilities often creates the livelihood
of many families in rural villages. Furthermore it is a village’s womenfolk who are most
involved as the primary workforce in crafts-based textile cottage industries Various
Pakistani fashion designers such as Rizwan Beyg, Deepak Perwani, Shamoon of Khaadi,
Maheen Khan and Amir Adnan have sourced these indigenous textiles both to aid
struggling village women to support their families as well as to beautifully juxtapose
these traditional textile masterpieces with the designers’ modern silhouettes These small
businesses essentially require facilitation from the government. One means could be in
the form of an exclusive electricity tariff for cottage industries.
Honestly, I was always puzzled why the women of the Bohra community would wear
these often brightly coloured and decorative Ridas when the probable purpose of a hijab
or any other body covering for women was to preserve a woman's modesty and conceal
her anatomy from the lustful glares of men. However I believe the Rida does the job of
concealment perfectly. Men are going to stare at women in a Rida or bikini regardless! I
think the reason why colorful and decorative Ridas were encouraged by the leaders of the
Bohra community was to set them apart and be distinctive from other Muslim
communities. Also the addition of lace, beads and sequins is a way for Bohri women to
Zahra Lotia 43
experiment with their creativity and give into their femininity. However, I have heard
from some Bohri friends that just in the same way that Karachi socialites flaunt their
designer clothes the trend of decorative Ridas also encourages women to establish a class
and status consciousness where trips to the mosque become a daily show of flaunting
one’s wealth and bitchy competitiveness. There are now even lucrative designer Rida
businesses afloat and Bohri women are often pressured to buy the latest Rida fashions to
keep up socially and fashionably!
As mentioned, I think the purpose is to distinguish Bohras from other Muslim
communities; one would be to recognize a Bohra women dressed in a colorful Rida
anywhere in the world! Secondly it also offers Bohra women to be more feminine and
less austere and I also believe the Bohra elders banned women from wearing black hijabs
and burqas because to them black symbolized mourning which should only be done on
the occasion of the deaths of Hazrat Ali, I mam Hussain (AS) etc.
of Pakistan?
I am not really sure about this. But I would imagine that there is a huge demand for Ridas
as it is considered compulsory for women from traditional Bohra families to don this
garment. So in this respect a whole sub-industry where many yards of fabric and
embellishments are used for this specific garment and made by memsahibs from their
homes constitute the creation of Ridas as a veritable cottage industry.
If you ever visit Dubai Fashion Week you will see many designers such as the brilliant
‘Rabia Z’ creating designer abayas and hijabs in a tasteful and fashion-forward way
while maintaining modesty and decorum. I think if a designer ever wanted to present a
collection of Ridas, he or she should maintain the basic ethos and distinguish the Rida
from an Abaya, Jilbaab, Khimar, Niqab or Burkha.
Furthermore, since Ridas already have the potential to be extremely decorative, a
designer should actually go over the top perhaps creating a baby pink lace Rida whose
loose skirt is slightly bias cut for shape and whose peecho has no sleeves but is instead
created from sparkly sequins! The head scarf should be sheer satin and sparkly as well!
Zahra Lotia 44
Interview No. 9
Name: Moiz Kazmi
Location: Karachi
Occupation: Fashion Journalist and Editor
An industry comprising of 5 to 12 people, usually home based.
Produce employment to some extent for skilled lower artisans.
It is their culture, part of their beliefs, a ritual. It a good cover for women and must be
very easy to carry on days when one doesn’t feel like dressing up.
Burqa is a piece of garment used to cover women. And Rida is a two piece covering.
It can be worn at all times occasions and seasons.
of Pakistan?
Not sure about its production statistics, but sure it does.
My fashion aesthetics don’t take me towards designing a Rida but if I had to design one, I
would do a line in black silks, chiffons, cotton with minimalistic thread embroidery.
Zahra Lotia 45
Interview No. 10
Name: Mr.s Karbalai
Location: Karachi
Occupation: Rida Tailor
Q1. Besides stitching Rida, do you make anything else?
Specialize in stitching Rida’s but also make blouses, petticoats, wedding dresses, and
lace.
Q2. How many labourers do you employ?
Altogether I have ten labourers out of which 3 labourers do the embroidery, 3 do the hand
embroidery, 2 do the kathli and 2 help me in stitching.
Q3. What are your productions costs?
In one day we stitch 3-4 Ridas, the profit is approximately Rs. 50 per Rida for me and the
rest is divided between the workers. 1-2 Ridas embellishments is completed in one day.
The cost of an embellished Rida is between Rs. 1500 and Rs. 3000.
Zahra Lotia 46
Interview No. 11
Name: Farida Ameer
Location: Karachi
Occupation: Rida Trader
Q1. From where do you import your Ridas and where are your customers situated?
I import Ridas from various places all over the country to purchase and sell it in Karachi.
Customers are present in New York (US), Australia, mainly Houston (US) and Dubai.
Q2. What is your production capacity per month?
In one month about 10-12 Ridas are produced.
Q3. How did you establish your business?
My business is home base, people found out through word of mouth. I’ve received an
extremely positive response, people appreciate the craft greatly.
Q4. How much profit do you make on each Rida?
I make around Rs. 200-500 profit per Rida.
Q5. What are the different types of embellishments you use in decorating Rida?
Multan embroidery, salma sitara, korey ka kaam, moti, beads, cross stitch, gota, kora,
sequence, resham, kundun, Sindhi karhai etc.
Zahra Lotia 47
Interview No. 12
Name: Yousuf Petiwala
Location: Karachi
Occupation: Owner Shaadi Shop
Q1. What else do you make other than Ridas?
I work with wedding sets, mandwa, mahurat, kata etc.
Q2. Where are your customers based?
My clientele is 60% foreign based. Mainly Italy, Dubai, Africa and cities in the U.S.
Q3. What are your production costs?
We stitch 7-8 Rida’s per day, including hand embroidery and block printing which leades
to 20 Rida’s per week. 80- 100 Rida’s are made per month. The price ranges from Rs.
1,600- 45,000 which includes Rida, Jodi’s and BRidal Shararas.
Q4. What makes your product exclusive?
Because we have an exclusive collection, we produce one of each piece.
The term cottage industry once formerly applied to manufacturing that took place in
homes prior to the industrial revolution. For example farmers might take in extra sewing
or make cloth which was then sold to a large retailer in order to earn a few extra dollars
during the slow months of winter.
Today the manufacturing of goods is largely done in big manufacturing plants thus
eliminating the individual textiles or sewing worker at home. A few of these cottage
industry business still exists, like home assembly or stuffing envelopes. Most often
today’s cottage industry involves using advanced technology to work from home via fax,
internet and telephone.
The desire to remain at home but still make money has fueled the popularity of the many
internet based cottage industries. Many women with young children who do not wish to
Zahra Lotia 48
work outside the home find work in a cottage industry in order to make extra money with
a less rigid schedule.
As well the cottage industry can be an economical choice for anyone, since staying at
home means less money for fuel and work related expenses. Nevertheless they can be
termed as freelancers.
The textile industry is one of the most important sectors of Pakistan. It contributes
significantly to the country’s GDP, exports as well as employment. It is, in fact, the
backbone of the Pakistani economy.
Pakistan is basically a rich country in terms of its culture. From Sindh to Khyber
Pakhtunkhuwa lies a vast variety of culture. These cultures are full of different kinds of
embroideries which distinguishes them from one another, their clothes and the work done
on them marks their identity. As more than half of country’s population lives in rural
areas. People living in interior parts of the country have a very strong skilled labor
consisting of men, women and children who form a small cottage industry themselves.
If given proper channel and support by our government, people from these small cottage
industries can promote their work to international markets on a mega level where this
work is recognized and appreciated.
Rida is a form of Hijab which only women of Bohri community wear. It also marks their
identity of community.
Rida is a Bohra garment with two separate pieces of clothing, a loose skirt which extends
below ankles and a poncho which covers the upper half without sleeves and which
incorporates the head scarf (normally never puller over the face).
A lot of youngsters wear it without any compulsion and of their own free will. The Ridas
popularity has to do with a growing desire among young women to be faithful with the
tenets of Islam. Bohri women were nudged in that direction by their religious leader,
Syedna Muhammad Burhanuddin, whose directives carry the weight of edicts in the
community.
Before Rida, there was the hijab and the khes which was more or less a one-piece robe
that began at the shoulders and ended below the knees. “It was not comforting and
attractive”. The Rida, however, is a far more fashionable and comfortable alternative.
Zahra Lotia 49
Girls are expected to wear it after the misak- An initiation ceremony performed after boy/
girl reach puberty.
of Pakistan?
Like any other cottage industry, Rida making industry is also marking its place gradually.
Nevertheless Rida is related and limited to Bohra community only who are living
anywhere on the planet. However, there are more than 300 shops selling Ridas and more
than 40,000 labors making Ridas all over Pakistan.
Zahra Lotia 50
Interview No. 13
Name: Tasneem Ghatila
Location: Karachi
Occupation: Rida Trader
of Pakistan?
Cottage industry is an industry for women who want to support the family income.
Rida is safe and covers the woman, Rida for Bohras is a ritual and they wear it to please
their Dai. It looks attractive, and for women it’s a little business.
Q2. What is your monthly production cost?
Monthly we sell 20 Rida’s, and 200 Rs per Rida is earned by the labourers per Rida, in
which they are distributed in for appliqué, khatli, and hand embroidery. Per Rida it is Rs
2000-4500, Rs 500-600 profit per Rida.
Q3. What do you sell other than Ridas?
Other then Ridas, we sell artificial jewellery.
Q4. What type of embellishments do you use on the Rida?
Appliqué, Multan embroidery, Quetta and Balochi work.
Zahra Lotia 51
Interview No. 14
Name: Fatima Husain
Location: Karachi
Occupation: Rida Designer/ Trader
of Pakistan?
Cottage industry can be defined as a small set up, the Rida fashion initially started from
Pakistan and India as we have a wide range of materials and good in cheaper rates. Rida
is the safest outfit for ladies as it covers one from head to toe and gives a wide variety of
color and style.
It provides with a wide range of collection for all age groups, by giving variety in design,
and as it is colorful it is personalized.
Ridas have contributed to a huge extent as India and Pakistan are two countries which
fulfill the need of the Bohra community all over the world and as India is more
expensive, Pakistan’s cottage industry is flourishing faster.
Hand work, Machine work, Khatli, Gota, Patch work, Block print, Kora and Appliqué.
Q3. What are your production costs?
I have 10 workers, working only for this brand. Hand stitching is done on weekly
basis.10-15 Ridas are stitched in a week. 30-40 Ridas are sold monthly. My price range
per Rida is between Rs. 2000- 6000 whereas for Rida cum Jodi’s and Bridal wear it
exceeds to Rs 40,000. One labourers monthly income is between Rs.10,000- 30,0000.
Zahra Lotia 52
Interview No. 15
Name: Farida Marvi
Location: Karachi
Q1. Since how long have you been working as a Rida designer and how did you
start?
I have been working as a Rida designer for 23 years and I initially started as a middle
man importing Ridas from Multan and selling them to clients locally and internationally.
Besides that I also used to exhibit at different places and do personal selling by taking it
to potential client’s places. But now, since I have developed my own brand name, I don’t
need to struggle by going to client’s place. They simply drop by at my home/ work place
and buy from there.
Hand work, Lace work, Khatli work, Machine work, Rally work, Sindhi embroidery,
Cross stitch, Appliqué work, Shawl work, Zari work, Tar Kashi, Ribbon work, Piping
work, Tilla work, Jute work, Dori work, Balouchi work, Mirror work. All these
mentioned are designed accordingly by using my own creativty. Besides this Hand Paint,
Block Print, Screen Print, Wool work, Gota work, Moti work, Metal work, Salma, Dabka
and Kora work is also available in the market.
Q3. What else do you design besides Ridas?
I take orders for BRidal dresses, gift items, Safras, Bandhan, Praying Mats, Jabla Ijars
and Bags.
Q4. What are your production costs and profit margins?
I design 20 Ridas in the course of 15 days and my price range varies between Rs. 1,500 to
5,000. A total of 25 labors work under me. They are divided into three groups, each
having their supervisor. The three supervisors are paid for the task given and they
distribute the amount as per their rule. Approximately Rs. 35,000 – 40,000 is my cost that
I incur as material and design costs for 20 Ridas. I keep a profit of 20% - 25% per Rida.
Zahra Lotia 53
Interview No. 16
Name: Rasheeda Imran
Location: Multan
of Pakistan?
Living in Punjab, there is not much demand as there is very less population of Bohra
Community therefore most of my stuff is send and sold in Karachi as it a major
cosmopolitan so obviously there is a high demand.
Q2. What barriers do you face while conducting business in Pakistan?
No problems at all. Everything is very convenient as it is readily available.
Q3. How can you expand your current business?
Definitely Rida business is a very flourishing business but I prefer making 20 Ridas per
month as I am an old lady and do not want to strain myself.
Q4. What is your profit per month?
I save to about Rs. 6,000 – 8,000 per month.
Zahra Lotia 54
Glossary
Burqa: a veil, covering from head to toe.
Dai-al-Mutlaq: the head of Bohra community
Deen: Religion
Duniya: the world
Dupatta: a scarf like cloth.
Fatimid Caliphate.: beginning from the house of Prophet(PBUH) Muhammad
Feta: turban
Ghagra Choli: a form of clothing similar to skirt and blouse
Gota: a form of embelishment
Ismaili Shia’s: a muslim sect
Jabla izar: a dress worn by young girls before Misaq(puberty) similar to frock and an “A” line
shirt upto knee. With a topi.
Jori: an innovation of rida, similar to ghagra choli, with a dupatta.
Kurta and sherwani: a garment covering the upper part till the knee
Maselah: a prayer mat
Memsahibs: women.
Misaq: a ritual performed after one passes puberty which makes it compulsory for girls to wear
rida.
Muharram: first month of the Islamic Calendar
Najmi Market: a famous bohra market in Karachi
Non mehram: other than the blood relation.
Pairan: a long dress worn by Bohra men while praying
Pardah: an act of covering oneself.
Rida: A two piece stitched garment worn by the woman of the Bohra community as an
alternative for burqa.
Zahra Lotia 55
Saify Mahal: house of Dai
Sunnah: the methods adopted by the Holy Prophet(PBUH)
Topi: headgear
Zari: a form of embelishment
Ziayart: an important ritual of the Bohra community which is the visiting of the shrines of the
Dai’s
Zahra Lotia 56
Bibliography:

“Mullahs on the Mainframe” Islam and Modernity among the Daudi Bohras by Jonah
Blank. The University of Chicago Press. Chicago and London. @2001.

http://jshadishop.com/index.php/dawoodi-Bohra-blog/Stitching-her-way-to-success
“Stitching her way to success” by Sabeen Jamil.
This article is written by interviewing a Lady named Tahira bhen Petiwala(ownwer and
designer of Jamali Shadi Shop) it was published in “The News” newspaper on Sunday 5th
October’2008.

http://www.indianfashiondesigners.co.in/dawoodi-Bohra-Rida.html
This site is owned by Indian Fashion Designer Farhat M Hami and Tasneem M Hami who
also works on Bohra Rida Designs.

http://Ridaboutique.webs.com/
this site is owned by the Bombay Boutique, India.

http://tribune.com.pk/story/137253/Bohra-communitys-spiritual-leader-turns-100/
this article is written by Fatima Shabbir and was published in The Express Tribune,
March 25th, 2011.

“Bohra Culture” by Ibrahim Ali, Department of Textile Design 2004. IVSAA
Zahra Lotia 57

Zahra Arif Lotia Dissertation

Transcription

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