ARCHIVE | Yaser Shaw

Summary

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Podcast Summary: What We Wore – ARCHIVE | Yaser Shaw

Host: Laura Vinroot Poole
Guest: Yaser Shaw
Release Date: April 14, 2026

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Episode Overview

In this conversation, Laura Vinroot Poole welcomes Yaser Shaw, a seventh-generation shawl maker from Kashmir, whose family has been in the business for over 200 years. With a focus on the artistry, tradition, and personal connections behind Kashmiri shawls, the episode delves into the ancestral craft, the lives of the artisans, and the meaning of “slow fashion.” Yaser shares insights into his family's legacy, the value of handmade work, and the cultural importance of shawls, making this a moving tribute to craftsmanship and heritage.

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Key Discussion Points & Insights

The Journey and Relationship (00:06–03:30)

• Yaser’s Long Trip to Charlotte:
  • Yaser describes his journey from Kashmir, involving 25 hours of travel (00:59).
  • Laura remarks on the anticipation and excitement among customers for his visit, noting most shawls sold out instantly (01:09–01:26).
• Longstanding Partnership:
  • Their professional relationship spans over a decade (02:06), with Yaser recalling his first trunk show in 2012.
  • Discussion on how well Yaser now knows Capitol’s clients and their preferences, with some even having entire “shawl closets” (02:23–02:33).

Kashmiri Heritage & Family Craft (03:30–07:01)

• Kashmir’s Beauty and Tradition:
  • Yaser paints a picture of his culturally rich and naturally stunning homeland, emphasizing the role this environment played in inspiring his artistry (03:30–03:48).
  • He shares that the shawl business has been in his family for over 200 years; he is the fifth generation carrying it forward (04:28).
• Coming Into the Craft:
  • Shawl making was a family expectation, with Yaser absorbing skills and traditions from a young age (04:47–05:07).
  • He expresses a deep love for the art, distinguishing his approach as more art-focused than trade-focused, especially drawn to experimenting with color and motifs (05:15–05:42).
• Family Involvement:
  • His sister is also in the business, working on different collections (05:56–06:07).
  • Both men and women in Kashmir wear shawls for warmth, fashion, and special occasions like weddings (06:15–06:25).

Artistry and Technical Details (06:30–10:42)

• Kani Shawls & Workshops:

  • Description of intricate kani shawls, woven on flat looms with small wooden needles; can take up to several years to complete (06:30–07:01).
  • Different families and areas specialize in particular techniques—some weave, others embroider.
  • Yaser knows many artisans personally, handing down skills generationally (07:33–08:09).

• Artisan Relations & Community:

  • Yaser’s network includes 700 artisans; communication can be challenging during Kashmir’s periodic connectivity blackouts, with Yaser visiting artisans personally by bicycle (08:35–09:04).
  • Despite external hardships, work never ceased: “But we never stopped working, you know; we were always working.” — Yaser Shaw (09:05)

From Tradition to Fashion (09:11–11:11)

• Bringing Tradition to Fashion:

  • Early collaboration with Christina Kim (Dosa) inspired Yaser to view his work beyond tradition and see its impact in the contemporary fashion world (09:26–10:01).
  • The immense customer enthusiasm for his shawls in the U.S. was a revelation and affirmation of his direction.

• Sharing Recognition with Artisans:

  • Modern tools like Instagram help artisans see their work appreciated globally. “They know it now ... they see what they have created is now in States or in Europe and Paris in high fashion stores.” — Yaser Shaw (10:55)

Legacy, Material, and Techniques (11:19–15:02)

• Personal Life:
  • Yaser shares he’s the father of two daughters, ages three and nine, and enjoys traveling with them, hoping to pass along his experiences (11:19–11:54).
• Pashmina: The True Cashmere:
  • The word “pashmina” is explained as meaning wool in Persian; the mislabeling of cashmere is addressed (12:07–12:38).
  • Shawl making in Kashmir dates to the 1500s, with techniques and loom work passed unchanged through generations.
• No Electricity, Pure Handcraft:
  • Every step is done by hand without electricity: spinning, weaving, and embroidery (14:05–14:21).
  • Laura reflects on the preciousness and visceral beauty of these hand-crafted pieces, linking it to “slow fashion” (14:21–14:58).

Heirlooms and Care (15:02–17:10)

• Shawl Heirlooms:

  • Yaser’s family keeps old shawls in a vault protected with cedar (15:09–15:26).
  • Care tips: hand washing in cold water with wool detergent recommended to prevent moth damage (15:40–15:59).

• Wool Gathering:

  • Traditional springtime shearing—once a year for best fiber quality.
  • “By sharing them only annually, the length of each hair spun into yarn is very long ... the less pilling will be there because there are fewer ends.” — Yaser Shaw (16:41)

Artisans and Gender (17:10–19:10)

• Force of 700 Artisans:

  • 600 out of 700 artisans focus on embroidery, most of whom are men—reflecting generational customs (18:12–18:19).
  • Yaser also does embroidery (“not very good with weaving”), noting the challenges of the craft.

• Workday Rhythms:

  • Embroidery is done only in daylight—no artificial light, preserving eyesight and tradition (18:58–19:10).

Artistic Process and Unique Pieces (19:24–21:17)

• Commissioning and Execution:
  • Each shawl is stamped with a design and entrusted to a single artisan who embroiders it over several months.
  • Individual signatures: initials stitched in pink thread; family symbol (SP), weaver’s, and embroiderer’s marks (20:17–20:38).
  • “Each is one of a kind ... because the artist knows where to put which color. If a second person takes over, even with the same thread, the result changes.” — Yaser Shaw (19:48–20:08)

Color Preferences Around the World (21:29–23:02)

• Color and Culture:
  • Color choices differ by geography: Japanese clients prefer conservative, tone-on-tone; Southern U.S. and California clients favor bright, happy hues (22:30–22:47).
  • Yaser tailors collections to clients’ personalities and comfort levels.

Shawls as Fashion & Function (23:02–25:13)

• Rise in U.S. Popularity:
  • Laura shares observations on the practicality and visual impact of shawls, not just as tradition but as wearable art; key to travel wardrobes and adaptable to climates like California (23:02–24:36).
  • Shawls “bring light to your face” and can be more important than a coat or shoes on trips.

Notable Quotes & Memorable Moments

• “Production at its root is what we call as slow fashion. And each scarf takes time. There are no shortcuts.” — Yaser Shaw (14:53)
• “You can keep them forever—generations. This is how they’re supposed to be.” — Yaser Shaw (17:06)
• “No electricity is used; everything is hand-done from spinning, weaving, embroidery.” — Yaser Shaw (14:05)
• (On artisans’ pride) “They know it now. They follow me on Instagram. They see what they have created is now in States or in Europe and Paris in high fashion stores.” — Yaser Shaw (10:55)

Family, Succession & Favorites (25:13–28:07)

• Handing Down the Lineage:
  • Yaser reflects on the difficulty of earning his father’s trust to take creative liberties in the business. “Parents always say, ‘This is the way we have been doing it.’” — Yaser Shaw (27:25)
• Favorite Shawls:
  • While Yaser has favorite pieces, he finds joy in seeing them cherished by others (26:28).
  • Fashion sense seems innate; Laura jokes about Yaser’s effortless style, contrasting it with her own need to learn (26:39–27:12).

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Timestamps for Key Segments

• [00:06] Opening and Laura introduces Yaser Shaw, outlines family’s 200-year legacy
• [01:09] Laura describes frenzied customer excitement over shawls
• [02:06] Discussion of 10+ year partnership, recalling first trunk show
• [03:30] Yaser paints the culture and scenery of Kashmir
• [04:28] Family lineage and expectations to join the shawl business
• [06:30] Technical description of kani shawls and workshop divisions
• [08:35] Yaser works with 700 artisans, communications during Kashmiri conflict
• [09:26] Pivot to fashion, story collaborations with Dosa/Christina Kim
• [11:19] Yaser’s fatherhood and personal transformations
• [12:07] Clarifies the meaning and origin of “pashmina”
• [14:05] All work done without electricity; slow fashion practices
• [16:41] Wool collection—long fiber due to annual shearing
• [18:12] Gender and generational aspects of artisan community
• [19:48] One shawl, one embroiderer: uniqueness of each piece
• [20:17] Shawl signatures: SP, weaver, embroiderer
• [22:30] Color preferences: Japan vs. U.S. clients
• [23:02] Shawl trends in the U.S., practicality for travel
• [25:13] Reflections on partnership and sharing the artistry
• [26:28] On not keeping favorite shawls, but sharing them
• [27:25] On earning his father's trust and evolving the business

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Final Takeaways

Yaser Shaw’s story is one of living heritage, where tradition coexists with international appreciation and innovation. His commitment to slow, hand-made fashion, the careful stewardship of artisan relationships, and the joy of spreading beauty across cultures are all palpable in the conversation. Poole and Shaw’s mutual respect and warmth also illustrate how authentic relationships, not just commerce, drive the enduring appeal of what we wear.

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Transcript

[A]

After 25 years in the fashion industry, I've realized that fashion is not really about the clothes. It's about the people. I'm Laura Vinroop Pool and this is what we wore. Yasser Shah's family has been in the shawl business for over 200 years, and Yasser is part of the seventh generation. From the shearing of the goats to the hand weaving and embroidery, the process to create one shawl can take anywhere from three months to several years. I love learning how Yasser keeps this special practice alive through the 700 artisans that he works with in Kashmir. Yassir Shah, I'm so excited to have you in Charlotte. And you've come a really long way to visit with us. You've come from Kashmir?

[B]

Yes. Yeah, I did.

[A]

How many flights?

[B]

It was around 25 hours.

[A]

Oh, my gosh. Thank you so much. It means the world to us.

[B]

It's pleasure and honor to be here. Thank you for having me here.

[A]

You must know how loved you are and how loved your artisans and your work is, because this morning we had, I don't know, 80 shawls, and today we have about 10 left.

[B]

Yes, it has been super busy morning.

[A]

People, you know, they start talking about it several months before you come, and everybody gets really hyped up and excited. And by the time the door, you know, we open, usually at 10am and usually about 9:30, people are outside. Ready, ready. Just looking in the window to see.

[B]

Yeah, it was good to see this.

[A]

Yes. A lot of demand, a lot of love for you and your work, Yasser. Where did we meet the first time? From Sadat?

[B]

No, from Ruth Randberg.

[A]

From Ruth, which is via Sadat and Jana. Probably originally, maybe.

[B]

Yes.

[A]

But yeah, I think we've known each. I mean, we've worked with you for 10 years.

[B]

11 years.

[A]

11 years. Wow.

[B]

I came first time here. It was 2012.

[A]

Wow.

[B]

The first trunk show we did with you.

[A]

Yeah. One of the things that's been so incredible about our relationship is I think that you know our clients even better now than.

[B]

And it's good to see that. You know how many of them they're collecting. Oh, yeah, my shawls.

[A]

And we have clients that have Yassir Shah shawl closets.

[B]

Yes, I saw one today. You did? I did saw.

[A]

Did you see Yasser in our catalog? In the Dream book? Did you see the stack of all the shawls?

[B]

I saw it.

[A]

Wasn't it so spectacular? My favorite page in the whole book.

[B]

Thank you.

[A]

Thank you. And I also love that. I think that you found that People in the south, and actually in California, too, because our Brentwood client also feels the same way. They love beautiful colors, bright colors, which I think was sort of new. I mean, I think you were. You had been traveling to New York before.

[B]

It's been. Yeah. Attracted to colors.

[A]

Me, too. It's almost an addiction for our clients. You know, they're like, well, I have a light blue with navy blue embroidery, but I don't have a dark navy blue with light blue embroidery. So I'm going to need that. Will you tell me a little bit about where you're from? Tell me about Kashmir.

[B]

I come from a culture with a rich tradition of craft and a lineage of art. My many generations have all been Kashmiri. So growing up in a place so rooted in culture, but also so naturally stunning, inspiring art.

[A]

I know Sadat was in Kazuwal, was in Kashmir over Christmas, I think. Skiing. He was skiing, yeah. It looked so spectacular. Are we allowed to go to Kashmir?

[B]

It was restricted, but now it's open.

[A]

Now it's open. Oh, I want to come.

[B]

Definitely. You have to come.

[A]

What's the most beautiful time to come?

[B]

Summer.

[A]

Summer, yeah. What would it be like for people that have not been there?

[B]

We have mountains, lakes, meadows.

[A]

It's very beautiful.

[B]

Beautiful.

[A]

Yeah. How do you think that Kashmir has played a role in who you've become and being Kashmiri?

[B]

My family has been making shawls for, like, over 200 years, and I'm the fifth generation working with it.

[A]

Wow. Which is a hard thing to do. And we know that from Sadat. Is it something you always wanted to do or did you know that you would be expected to do it?

[B]

I guess it's like when it comes to family affair from a young age, you hang around your parents and gradually absorb everything around you. I really don't think there was any doubt about me being a part of it.

[A]

Yeah. Did you love it? Always. I mean, did you find the beauty in shawls and the work, the embroideries?

[B]

Yes, I loved it. What was different for me was looking at it beyond trade and at art. As a young person, I was attracted to colors and inspired by nature. I'll pick up motives never done before and try them out slowly. I realize that my passion is aligned very well with my art.

[A]

What did you study in school? I mean, did you study business?

[B]

No, I did not study. I was working.

[A]

Yeah.

[B]

I started at a very.

[A]

Wow. And do you have brothers or sisters?

[B]

I have one sister.

[A]

Yeah. And is she in the business?

[B]

Yes, she is.

[A]

Oh, wow.

[B]

So she's Helping my father. Yeah. And we do different collections.

[A]

Yeah. It was always shawls. Was it ever blankets or. I mean, that's in the Kashmiri tradition. And it's.

[B]

It was always shawls.

[A]

And that's. Men and women wear shawls in Kashmir.

[B]

Yes.

[A]

And for warmth, for fashion.

[B]

Weddings.

[A]

Yeah, weddings. You do special ones for weddings, I'm sure. Will you tell me a little bit about the Kani shawls?

[B]

So garnish shawls are woven on a flat loom. It's the same process you weave a carpet.

[A]

Okay.

[B]

And so each shawl is woven with small wooden needles.

[A]

Needles. Okay.

[B]

It takes around, like, eight to nine months for each shawl to get. Yeah.

[A]

Wow.

[B]

And sometimes more. It depends. You know, you can make a shawl in, like, three months. It can take, like, years to do one shawl.

[A]

And you can tell the difference. Just the fineness of the.

[B]

Yes, you can make the difference by, like, workmanship. And.

[A]

And, Connie, shawls are not typically embroidered or are they?

[B]

They're not embroidered.

[A]

They're not embroidered.

[B]

Yeah. You can do embroidery over it to highlight it, but.

[A]

But it's really about the intarsia or the. Yeah. Wow. Do different families or different workshops do different things? Like, one workshop will do just Connie. One workshop will do just embroidery.

[B]

Yes. So it's all separate people who do weavings. Embroideries. Different areas. They have different quality of embroideries.

[A]

And is it usually families?

[B]

Yes.

[A]

And passed down from family members?

[B]

Yeah. All my artisans, they are from Kashmir.

[A]

Yeah.

[B]

And the production. I know some of them from a long time, and their families are also known for their skills for generations.

[A]

Yeah. And so you could say, like, oh, I heard of this person in this valley that. That was really good at, because there

[B]

are some people who do, you know, they are, like, amazing artists.

[A]

Do you still hear of. Of people that you'd never heard of that you're like, oh, so. And so in. In this area is really amazing at

[B]

doing a certain thing. Yeah.

[A]

Yeah. And you. And you go visit them and see their work and say, oh, yes, we

[B]

take them immediately, you know?

[A]

Yeah. How many artisans work for your family?

[B]

Currently we are connected with 700 artisans.

[A]

Wow.

[B]

Yeah.

[A]

And how do you communicate with them?

[B]

I know each of them individually and members of their immediate family.

[A]

I remember you telling me when things were bad in Kashmir, communications, Internet was down, television, radio was down.

[B]

Yes. It has been, like, you know, a lot. So I used to go out on my bicycle and visit them every day and see what they're doing.

[A]

Here comes Yassir.

[B]

Yeah, but we never stopped working, you know, we were always working. Yeah.

[A]

Wow. How did you come to be interested in fashion? I guess you were born into it. I think when your dad did it, it was more traditional. Yeah, traditional. And for weddings and things like that. So how did you know that you could go in the fashion angle?

[B]

I think I was working. I was doing a project with Christina Kim.

[A]

Yeah.

[B]

From dosa. We were recycling shawls. And this is the moment I realize that someone likes what I'm doing and it means something to them.

[A]

Yeah, I mean, everybody really likes what you're doing.

[B]

And I want people to understand, you know, its story, how these beauties are made. And, you know, I want to tell them the story.

[A]

Was there a moment when you realized that you were on the right path for your career?

[B]

I think this was the time with Christina. Yeah.

[A]

Yeah. Were you surprised?

[B]

No, but sometimes I already knew, like, you know, it was, you know, I'm passionate about shawls, so I already knew it. But, you know, when, you know, that was the push.

[A]

Yes. But sometimes I think when you live in it, it's hard to know, you know, hard to really know where it sits in the world. I mean, I think you grew up around this. This was such a normal part of your life, and we really didn't. So I think to see, I mean, for us to see these shawls, it's just like breathtaking. Makes you want to pass out. They're so pretty.

[B]

Yeah.

[A]

Was that surprising how the reactions of people, how just obsessed they are?

[B]

It is. Yeah.

[A]

Do you share that with the artisans? I mean, do they know how loved they are?

[B]

Yes, they know it now. They do, because it's also easier now. You know, they follow me on Instagram. They see, you know, what they have created is like, you know, now in States or in Europe and Paris in high fashion stores. So, you know.

[A]

Yeah. It's amazing. Can you tell me about one of the most transformative moments on your life during this journey?

[B]

I have two daughters.

[A]

Oh, I didn't know that. Yassir.

[B]

And one of my biggest identities these last few years is that of a father.

[A]

Oh, yeah.

[B]

I love traveling with them.

[A]

Yeah. How old are they?

[B]

Three and nine.

[A]

Oh, my gosh. Those are such nice ages and great to travel with.

[B]

Yes.

[A]

Because they're just. The world is so exciting. Everything.

[B]

Yeah. And I want to introduce them, you know, to see what, like, their father has been like, traveling and, you know, so they also learn and stand on their own. So.

[A]

Yeah, I love that. Will you tell me a little bit about the history of the cashmere shawl. And is cashmere, is that where cashmere comes from?

[B]

Yes.

[A]

Yeah.

[B]

You. In our local language, we call it pashmina.

[A]

Right, but because, wait, you call a shawl pashmina or you call the actual

[B]

woven fabric the material we call pashmina? It's pashmina. Pasham means wool. And that's a, that's a Persian word. Yes, and that's the original name. But, you know, it has been so misused.

[A]

Exactly.

[B]

That's why, like, we use Kashmir and you know, but the original, it's pashmina.

[A]

Pashmina.

[B]

So Kashmir, in Kashmir, much of the art came from Persia and Central Asia, and shawl making was one of them. It dates back around 1500, when Persian and Mughal rulers began trading in Kashmir with finely crafted fabric. And later, when Europeans, they introduced Kashmiri shawl into Europe, they said it's from Kashmir. This is how the Kashmir came. Pasham is wool. It's the underbelly of goat.

[A]

And is it a specific goat?

[B]

These goats are indigenous to our region, so they stay around 4,000 meters high and they get the best wool. When the Europeans, they introduced Kashmiri shawls in Europe, they said it's from Kashmir. And till date, we still use the same technique. We have not industrialized or disrupted the traditional lifestyle of our community of artisans with whom we collaborate in preserving age old Kashmiri Himalayan art.

[A]

So there. So these are, I mean, people are using looms that they've been in their families for generations and generations.

[B]

Yeah.

[A]

Has that changed? Have the looms been modernized or are they still.

[B]

Not yet. We still don't use a drop of electricity to produce these shells. So everything is like hand done from spinning, weaving, embroidery. So we don't use any electricity to make these shots.

[A]

That's incredible. And I think that, I think that's why they feel so precious and why they really give you such a visceral reaction when you see them. Because you can see the person's hand that made them. You know, you can feel.

[B]

Yes.

[A]

And that's. It's really rare in the world, you know, in fashion particularly, but you just don't see that very much anymore.

[B]

It is very rare.

[A]

I mean, maybe in a painting or something, you know, you can feel the artist's hand. But, but, but these shawls are, every bit of them feel made for you.

[B]

The production of its root is what we call as slow fashion.

[A]

Totally.

[B]

And each scarf takes time. And there are no shortcuts.

[A]

No, for sure not. Have you inherited shawls from, from Your grandparents. Great grandparents. Do you have old.

[B]

Yes, we do have a lot.

[A]

And where do you, how do you store them? In trunks or.

[B]

Yeah, we have family vault where we put all these shawls.

[A]

Please tell me there are mothballs in it.

[B]

Yes, we do have, we have cedar. We use cedar.

[A]

Yeah, it works, right? Because I'm having a little bit of a moth issue at home. But they don't, They've so far have been good. About your shawls.

[B]

Yeah, you have to take care of them.

[A]

You really do. And Yasser, do you wash your shawls?

[B]

Hand wash. We hand wash. If you know that you, you know, you have food or food or anything, then you should, you should wash them.

[A]

And any recommendations on how to do that?

[B]

Hand wash. Hand wash in cold water, Cold water. And you can use like mild detergent, wool detergent.

[A]

Okay, I need to do a full, A full cleaning because that actually is one of the things I don't think people know this, is that moths are. I mean, they, sure they like wool, but actually they like furniture, food, or like bits of oil or things like that. It's not the actual wool. It's things that have fallen on the wall.

[B]

Right.

[A]

Yasser, will you tell us about the pilgrimage to shear the goats every year for shaws?

[B]

In keeping with the long standing traditional practices, Darfar is only sheared once a year in spring and sold to our family by the nomads who hurt the goats throughout the year.

[A]

Wow.

[B]

By sharing them only annually. The length of each hairspun into yarn is very long. The longer the hair goes into the spinning the yarn, the less pilling will be there because there are fewer ends in each length of the yarn.

[A]

Right. And that's one thing I will say, your shaws do not pill at all. And they're, they're, they're soft all the way.

[B]

Yeah. You can keep them forever.

[A]

Generations.

[B]

Generations. This is how they're supposed to be.

[A]

And why only once a year? Just because it takes that long for the hair to grow that long?

[B]

Yes. Some they do also. Like twice. But the yarn which we use, it's very fine. It's also very fine. You know, each Yarn is like 12 or 14 micron. Take. It's more finer than a human here.

[A]

Oh, wow. Is it because of their diet and because of their altitude and where they are?

[B]

What makes the altitude. And these goats are like, you know, native, like indigenous to this region.

[A]

Right. And do they treat them like the gods that they are?

[B]

Yeah.

[A]

And remind me, how many, how many artisans does your family work with?

[B]

700 of that.

[A]

How does it break down between the people who weave the shawls and the people who embroider the shawls?

[B]

I think most of them, they're embroidery guys.

[A]

Oh, really?

[B]

Yeah. Out of 700, 600. Embroidery.

[A]

Oh, wow.

[B]

Guys.

[A]

Really? And. And it's men.

[B]

Mostly men.

[A]

Mostly men. Which is so interesting. Why is that? Just because of that. That's the culture. And they're down from father to son.

[B]

We have been like, you know, making

[A]

shawls since the 1500s.

[B]

1500s? Yeah. 5, 600 years. A lot of history of making shawls.

[A]

Did you. Have you ever tried.

[B]

Yes, I do embroidery. I'm not very good with weaving, but I can. Yeah. Those colors I love.

[A]

I'm a freelance embroiderer, but I really. It's really hard on my eyes. I've noticed. I've had to. You know, I need really good light.

[B]

I need glasses like our guys. They embroidered only during the daylight.

[A]

Oh, they do? Yeah.

[B]

Not in the.

[A]

No. Yeah. No electricity.

[B]

They. Because they feel with artificial light, their eyesight. No, they have more stress on their eyes.

[A]

I agreed. Yeah.

[B]

Yeah.

[A]

And are they done? Is it. It's inside or is it outside or wherever?

[B]

When we commission the shawls, you know, once the shawl is ready, we stamp them, you know, with the design and then we commission.

[A]

Yeah.

[B]

The shawl to an artist who. Who will take it home and work on it for the next six, seven, eight months. Months.

[A]

And are they done always by. By one person or can it be,

[B]

you know, several people working at one person? Because he knows you can see the hand changing and also the colors you're using. You know, he. He knows, you know where to put which color. And if second person. He may use the same colors, but he'll put them differently.

[A]

Yeah. That's interesting.

[B]

That's why, you know, they are all one of a kind pieces.

[A]

Yeah. Are they signed and numbered or how are. Tell me about the. The signature on the bottoms of them.

[B]

The initials out of the craftsman are stitched in a tiny pink thread on the lower corner of the. Of each shawl. And you'll see there's sp, which is our family sign. Then the weaver would sign it, and then there would be third sign from the embroidery.

[A]

Oh, wow. Do a lot of the weavers know the embroiderers? So can I.

[B]

Very few. But there are different areas where. There are areas where weaving is done and like the area where our embroidery is done, it's like the whole village is only doing embroidery.

[A]

And do they. And do they. See, I was. I Was asking if. I was wondering if some of the weavers see the finished product with the embroidery.

[B]

Yes, they do see.

[A]

They do.

[B]

Yeah, they do see it.

[A]

Do they own all of the thread or is that something you give to them also?

[B]

No, we give the thread like, you know, our family buys the yarn, you know, for the weaving.

[A]

Right.

[B]

And then we commission it to the spinning. And then the weavers, when we do the embroidery, so we. We give the colors.

[A]

Okay.

[B]

Embroidery.

[A]

You and your sister or you and your team?

[B]

Me and my team, yeah.

[A]

And so do you ever. Do you ever give a shawl package, you know, with the thread and have the embroiderer say, I don't know if that's going to look very good.

[B]

Yeah, most of the time. Because there are times. Yeah. Because we experiment a lot.

[A]

Yeah.

[B]

And there are certain colors which I don't love to do it, but I'm doing them sometimes, like black. You know, it's very rarely you'll see a black shawl from.

[A]

Right. Yeah, it is.

[B]

So I have one. Yes.

[A]

But that's so interesting. And we never really sold black shawls ever.

[B]

You know, that's why I love you guys.

[A]

No, ours are mostly pink and turquoise and yellow, and they're so beautiful. Yeah. That must be fascinating for you to do to. To choose the threads with the shawls for all of your clients around the world, because I'm sure they're very different.

[B]

Yes, they are.

[A]

Yeah.

[B]

So it's like, you know, like the clients in Japan.

[A]

Yes.

[B]

They are very conservative.

[A]

So they want maybe like, tone on tone almost.

[B]

Yes. They are not like, you know, exposed or like they're. They're not comfortable wearing, like, bright colors.

[A]

I mean, it's business. But also, did that come from you traveling? I know you travel a ton. Was that eye opening for you when you saw the way people. Women dressed and men dressed and that. I mean, was it clear to you what they would. Would be capable of wearing?

[B]

Yes.

[A]

I was talking earlier about the culture of wearing shawls or just the practice of wearing shawls. I started to see it 25, 30 years ago in Charleston, South Carolina. And I don't know why, but a lot of women wore shawl, and I thought it was the most chic, sophisticated thing. And so I honestly did say, like, people need to be wearing shawls. And so we started to buy them and we started to show people how to wear them and also just how well they work. You know, I mean, they. They're so practical, but they're so beautiful because almost in the same way that we talk about, you know, Marie Helene de Tayac always talks about jewels should really be bringing light to your face. It's the same with a shawl.

[B]

Same with the shawls.

[A]

Yeah, it should. You should be wearing things that bright your complexion and make you look beautiful and young and, you know, happy.

[B]

Yes, right.

[A]

Yeah. We were talking about California, our store in Brentwood, and they've really started to love shawls. But when we first started to send them out there, the sales team said, you know, I don't know that people here are that into shawls.

[B]

I have seen the transition.

[A]

I've seen the sales, you know, the

[B]

culture of, like, how people. They are appreciating.

[A]

Yeah. Well, because they're so practical. They make such sense. And California is cold. I mean, the temperature can change so much because there's no humidity and a shawl just.

[B]

Or even air. Like, you know, if you go in air conditioning, you know, if you're traveling, you know, it's so practical. You don't have to carry your jacket or anything, you know.

[A]

No, it's so nice. And I travel a ton, and that's the most important thing in my bag always, is my shawls. And I do, like, a little, you know, I'll do several. But it's definitely more important than the coat I pack or, you know, the shoes I pack, is the shawl. It's, like, easier, but it's also just. It's so beautiful and it's so. Just so elegant. And I'm just. I can't tell you how thrilled we are to have met you 11 years ago and to be able to work with you and to sell these beautiful things, to share these beautiful things. Not just to sell them, to share them.

[B]

It's lovely.

[A]

It is.

[B]

Being here and, you know, great to hear that. You know, people, they are loving what I do.

[A]

Yasser, we on this podcast at. On every podcast, we ask people what they wore to the prom. And I don't know if they have proms in cashmere.

[B]

No, we didn't have. Do you know, for a long time, I didn't know what that is.

[A]

Do you have some sort of important thing that you dress up for before you get married? Do you have. Is there something rite of passage, some sort of thing that you.

[B]

No.

[A]

Do you have a special shawl that you love more than any other?

[B]

Yes.

[A]

Yeah, tell me about it. It's not black.

[B]

It's not black, but. Not one. But I have several favorite shawls. And I'm always sad that when I'm Selling them.

[A]

Is it by one specific person, the embroidery?

[B]

Yeah, there are. There are several people I love and, you know, I love their work and I always wanted to keep them for me, but, you know, it's.

[A]

Describe one that you love.

[B]

I'm always happy that, you know, these shawls are going to someone. I really love them, you know, so then I don't feel bad.

[A]

Will you describe one that you love more than anything?

[B]

Like blues, pinks. Oh, yeah, yeah, yeah. And like, I love colors. It's not like blues and pinks, but

[A]

you always wear beautiful colors. You always look so chic with your colors. You either have that or you don't. I don't know that you can learn that. Right. I mean, you must have been born knowing, understanding.

[B]

I don't think you can. Yeah. You don't learn these things.

[A]

Yeah. Does your dad have it? Does he have great taste?

[B]

Is it not required?

[A]

That's funny. Will you tell me one more question? Will you tell me a little bit about was it hard to have your dad trust you to take the business on?

[B]

Yes.

[A]

Yeah.

[B]

It's not easy.

[A]

No.

[B]

I can't imagine to have, you know, a family business which is since such a long time there. Parents always say, hey, you know, this is the way we have been doing it. And, you know, you have to do it. But, you know. Yeah, but that was not me.

[A]

Yeah.

[B]

You know, I would pick up a pattern and, you know, try it out differently and.

[A]

Yeah, but it's. You've been doing it for a long time.

[B]

Yeah.

[A]

Yeah. Does it help to have your sister in the business?

[B]

She. Yeah, she does help us also.

[A]

Yeah. I would imagine it helps to have one other person of your generation to say, yeah, this is beautiful. We should try to sell it.

[B]

She is also in the business here. Yeah.

[A]

Yeah. Thank you so much. Thank you for doing this. Thanks for coming this long, long distance to be with us and thanks for bringing these beautiful things that we can share with everybody.

[B]

Thank you so much for having me.

[A]

What We Wore is produced by Capitol and Balto Creative Media. The original song, Someone so Enchanting was composed and performed by Brit Drazd. Queencitypodcastnetwork.com.