Flore and Edmund met and lived in Afghanistan for three years. They fell in love with the country: extraordinary craftsmanship, ancient heritage and amazing natural beauty. At the same time, they gained more and more consciousness about the problem of refugees in camps close to the warzones, trying to help them create sustainable businesses and breaking the chains of our traditional approach of the victims. And so, they founded Ishkar.
The project is definitely changing the discourse about refugees, usually treated as a mass of passive and helpless people: “We want Ishkar to fundamentally change the way we view war-torn countries as well as breathing new life into ancient crafts on the brink of dying out”, says Flore. Through a curated collection of pieces, including glassware, jewellery, cufflinks, tableware, shawls, klims and carpets – each made by artisans whose practice has been affected by war and some of them are made in collaboration with top international designers –, they provide a window to refugees who are in a suppressive state of dependency that makes it difficult for them to integrate and become self-reliant.
We talk to Flore and Edmund not only about what does real craftsmanship mean today (slow production, the human hand over the machine, and natural materials) but also about the importance of restoring dignity and a sense of self-worth in the lives of these artisans, so as the social impact of supporting NGOs, creating economic opportunities and keeping skills alive. This is a story of hope.
We talk to Flore and Edmund not only about what does real craftsmanship mean today (slow production, the human hand over the machine, and natural materials) but also about the importance of restoring dignity and a sense of self-worth in the lives of these artisans, so as the social impact of supporting NGOs, creating economic opportunities and keeping skills alive. This is a story of hope.
Flore and Edmund, you met and lived in Afghanistan together for three years. How was the experience in the country? Where are you based at the moment?
We loved our time in Afghanistan, it’s a stunning country full of character and charm. We fell in love with the mountains, the bustling street life and the wonderful Persian culture of hospitality and courtesy. At times, of course, the security situation can be tough, but our positive experiences far outweighed the negative. At the moment we are currently based between London and Paris.
Your professional activity has always been related to the ethical market?
We both began our careers in Afghanistan. Flore was working as a consultant for development organisations such as the United Nations and the World Bank, and Edmund for an NGO called Turquoise Mountain – an organisation helping to regenerate the old city of Kabul and to support local craftspeople.
“It is really important to restore dignity and purpose to people who have lost so much. Seeing their products sell so well reignites a sense of self-worth and value in their own work.”
Why did you set up Ishkar?
We set up Ishkar in the wake of the Paris attacks in 2015. We felt that Islamic extremism was dramatically changing the way the world looks upon countries like Afghanistan, Syria and Mali. Our experience of living in Afghanistan was shaped by the country’s rich heritage and culture, far more than the country’s better known exports: terrorism, drugs and refugees. We wanted to set up a company that would provide a window on the side of the country we were familiar with and cared so much about, not the side most commonly reported on in the news.
Some people might think this is a kind of ‘good luxe’? What does this term mean for you?
Just because something is luxurious this doesn’t mean it is ethically or sustainably made. Even using these terms can be confusing as there is so much disagreement as to what is ‘ethical’ or ‘sustainable’. We wanted to start with products that people really want to buy for the product itself, rather than buying it for the sake of charity. The fact that our customers support the artisans in extremely difficult situations is great, but we hope people appreciate and value their craftsmanship.
Do you think society is being more conscious about the way we consume? Are we assuming an increasing responsibility?
There is a definite shift towards ‘slow’ consumption, at least in the West. People are increasingly drawn to products that tell a story and have positive impact. However, unfortunately the same cannot be said about many poorer countries where such considerations are perceived to be a luxury. For example, in Afghanistan, the taste is for factory made glass from China. The cost, the practicality and the regularity make Chinese glasses far more attractive than hand-blown Afghan glasses for the typical Afghan consumer.
Craftsmanship and ancient heritage are some common attributes of the products you sell. How are they linked to contemporary design?
Generally speaking, both ancient craft and contemporary design have a lot to learn from one another. The refined skill of traditional craftsmanship is reenergised with the help of a modern designer. With Ishkar, we try to tread the balance between tradition and what is thought of as contemporary.
These artisans have been affected by war and isolated from global markets. Could you share any story of hope with us?
It is really important to restore dignity and purpose to people who have lost so much. Seeing their products sell so well reignites a sense of self-worth and value in their own work. We have been overwhelmed, for instance, by the response to our hand-blown Afghan glass. Within a year we’ve been able to place the largest orders of glassware the artisans have received in decades. This has the power to breath new life into crafts that are on the brink of dying out. We hope glassware is only the start.
You say the craft sector is a promising potential area for employment to provide refugees with a regular income, but you also talk about generating a sense of pride. How important is for them to develop a meaningful work?
Yes, according to UNHCR, the craft sector is one of the three most viable livelihoods for refugees. By being labelled a refugee there is a risk of losing your sense of identity and self-worth. By working and using their own skills, refugees can recapture a sense of dignity and pride. Having a job not only provides a salary to enable the employee to support themselves and their families, but it also restores structure to their lives.
“By being labelled a refugee there is a risk of losing your sense of identity and self-worth. By working and using their own skills, refugees can recapture a sense of dignity and pride.”
You have different partners (familiar faces as Frank Gehry or the late Zaha Hadid among others). In which ways are (or were) they involved with Ishkar?
These carpets are the result of a collaboration with the NGO Arzu. NGOs are fantastic at developing partnerships with high profile designers such as Hadid and Gehry, but often need help finding a market for their products. This is where we come in.
Many people want to help but they do not know how. You’ve recently launched The Pin Project, which is an easy, stylish and affordable way to support them. Why did you launch this campaign and what is it exactly about?
The Pin Project is all creating sustainable economic opportunities for refugees. Instead of giving free hand-outs, this project is attempting to encourage self-reliance. Refugees are being supported because of their skills, not for their situation, and that helps restore confidence and a sense of pride.
Where would you like to see Ishkar in the future?
We want Ishkar to fundamentally change the way we view war-torn countries as well as breathing new life into ancient crafts on the brink of dying out. Through our products we hope to bring a story of hope to consumers all over the world.
