Textured Brilliance: Beyond the Canvas
Alifya Sohail profiles Noorjehan Bilgrami, Visual Artist, Curator and Director, KOEL.
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The Transformative Power of Collective Efforts
Entrenched at the heart of Karachi’s chaos lies Behbud Association, a story of resilience and transformation. A “self-sustaining social enterprise”, Behbud was started by a handful of women who sat under the humble shadow of a tree, Behbud’s symbol. Their slogan, ‘Bano Zariya Kisi Ki Zindagi Badalnay Ka’ (be the instrument to change somebody’s life), traces its origins to the founding of Behbud Association in Rawalpindi, 1967, shortly after the 1965 war, which left in its wake countless widows and children in need of support and rehabilitation.
Over the years, Behbud has expanded its initiatives to include informal schools for children, vocational training centres for women and healthcare services. Its holistic approach aims to create sustainable change, enabling women to gain economic self-sufficiency and improve their quality of life. The Karachi chapter was established in 1970 by a group of women inspired by the same principles of compassion expressed by the Rawalpindi branch.
The passage of the 18th Amendment marked a significant turning point for the organisation. The Amendment mandated that any organisation operating within a particular province must be registered within the same province. Consequently, Behbud Association Karachi transitioned its registration to Sindh. The shift in registration brought about a new level of operational autonomy for the Karachi branch, catalysing the implementation of formal operational structures and processes in Sindh.
Throughout its history, Behbud has been characterised by a strong volunteer base and a commitment to maximising the impact of donations, ensuring that resources directly benefit the communities it serves. Behbud’s sustenance has largely been driven by donors, although donations are not a guarantee of consistent funding.
Mehveen Qureshi, President of Behbud Karachi, explains, “We need profits to sustain the enterprise and support the women we employ.”
Here, Qureshi looks to Bangladesh’s Grameen Bank, a microfinance community enterprise that makes small loans to the impoverished without requiring collateral. Their core belief, “Focus on the women and you will get returns,” resonates deeply with Behbud’s philosophy. “We have had women who were here for 50 odd years, as well as one or two remnants of our older members who were founding members. Their vision was simple: ‘We need to help’,” says Qureshi. This laid the bedrock for Behbud’s evolution into a “self-sustaining social enterprise”.
Enter Behbud Creations, the textile brand that brings to life products handcrafted by Behbud’s women, each piece a testament to their skills and heritage.
“Although the communities we work with are diverse, they share a common experience: their migration and settlement during Partition,” Qureshi details, “This shared history became our focal point when we started. Our community includes Hindus, Christians, Afghan refugees, Punjabis, and a smattering of Pathans. Their manifold traditions bring diversity to the textiles we produce.” Karachi served as a diverse catchment area for Behbud; their geographical reach enveloped the families of truck drivers due to its proximity to the wharf. The drivers would be gone for months on end, leaving the women behind with the children. “These women became our students and then our craftspeople and our industrial home students.” In this way, Behbud honed an expertise mired in the practicality of lived experiences. This is mirrored in their product range, which includes stationery, toys, leather crafts, sandwich cosies and dollhouses, stemming from Behbud’s recycling of all material.
The Urdu-speaking and Punjabi women in particular had strong cultural ties to stitching and embroidery. They often made their clothes at home, each group bringing distinct styles and techniques to the table. The Urdu-speaking women were known for their refined stitches, while the Punjabi women brought a different style of embroidery and specific clothing cuts, such as the shalwar. Meanwhile, garments like the gharara, pyjamas and angarkhas became central to the creations of all the women, showcasing the fusion of various cultural influences.
“Nobody cuts a gharara quite like our women,” Qureshi proudly says.
The crafting focus has been on traditional skills such as stitching and embroidery; each community brought its unique styles, ensuring the preservation and teaching of these crafts. “Our mentors taught traditional cuts and styles, which we still retain and teach today.” Experienced women trained by their grandmothers laid the foundation for this endeavour by imparting their knowledge of classic techniques – from the intricate art of traditional garment cuts, such as the elegant Delhi cut and the sophisticated Lucknow cut. These techniques, representing centuries of craftsmanship, have been meticulously preserved and are taught to new artisans to ensure their survival. Among the skills imparted was the delicate and labour-intensive craft of smocking, a technique at risk of being lost in the modern age – a craft that Behbud remains committed to retaining.
For the first several decades, Behbud functioned without a structured marketing plan, relying on grassroots efforts and the dedication of its members; it was only eight years ago that Behbud implemented a formal marketing strategy. This leap into structured marketing has been crucial in expanding Behbud’s reach, ensuring that its mission and products touch the lives of a broader audience.
Despite the volunteers’ varied academic backgrounds, many holding Graduate or Master’s degrees in non-related fields, they lacked formal training in running a business. Marketing in particular was uncharted territory. “None of us were trained in fashion design or marketing. Our design ideas often come from everyday observations. We visit stores to see current trends and incorporate that feedback into our products. Our diversity ensures a timeless quality transcending trends. We also produce home linens, reflecting practical, lived experiences from Partition-era members,” says Qureshi. One of their standout offerings, a padded prayer mat, quickly became a niche bestseller.
“Print ads were too expensive, so we focused on grassroots marketing and strategic events. Our first mela (fair) was small but successful, leading to larger events. We formalised policies and partnered with event management companies to train our staff and ensure professional publicity.” Their marketing evolved from photocopied flyers to melas and eventually, the Behbud Fiesta, which attracted thousands. “We expanded our visibility through partnerships, like the Habitt kiosk, which helped us reach a broader audience. Although our standalone shop in Zamzama attracts a specific clientele, the Behbud Fiesta has a footfall of thousands, breaking down class divisions,” Qureshi recounts.
Embracing the digital age, Qureshi, who belongs to the “Facebook generation,” initiated their Facebook account. “When I joined Behbud, I was perhaps the youngest member at that point, and I was the only one within Behbud who was on Facebook.” Despite initial challenges, this move proved to be a valuable tool for outreach. “From Facebook, we learnt how to manage an Instagram account and today we have a presence on X and LinkedIn.” Currently, Behbud is working on a third website upgrade to enhance user experience, particularly for mobile users. The new website will enable online donations, volunteer sign-ups and include a comprehensive storytelling strategy that highlights not just their history but also their successes.
The customer base for Behbud Creations primarily comprises young mothers, women, and professionals looking for competitively priced, high-quality products. These women value affordability without compromising on quality. “We are our own best critics,” says Qureshi, underscoring the rigorous quality control processes that ensure every product meets the high standards set by the Behbud family.
Over the years, Behbud has experienced highs and lows, each phase serving as a learning curve. Today, their artisan base extends beyond Karachi and includes skilled workers in areas like Badin who specialise in unique stitching techniques and intricate patchwork. These artisans complement the local in-house artisans and those who work from home.
Behbud’s brand philosophy is deeply rooted in leveraging each artisan’s specific skills and pushing them to excel within their capabilities.
This inclusive approach ensures that while some women may master certain crafts, others contribute their unique strengths, but nobody gets left behind.
The stories of these women are as varied and vibrant as the products they create. For instance, there is the tale of a woman with weak eyesight who only knew how to knit. Despite her limitations, she has been a part of Behbud for 20 years and is now a master blockprinter – the greatest virtue of handcraft is that imperfections are inevitable. However, Behbud’s impact goes beyond individual stories. The organisation is a testament to the transformative power of collective efforts. Qureshi summarises this ethos, stating that “our mission is to nurture and empower women. We provide them with opportunities to learn, earn, and grow. Every product we create carries the story of a woman’s journey, her dreams, and her resilience.”
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Here, Qureshi looks to Bangladesh’s Grameen Bank, a microfinance community enterprise that makes small loans to the impoverished without requiring collateral. Their core belief, “Focus on the women and you will get returns,” resonates deeply with Behbud’s philosophy. “We have had women who were here for 50 odd years, as well as one or two remnants of our older members who were founding members. Their vision was simple: ‘We need to help’,” says Qureshi. This laid the bedrock for Behbud’s evolution into a “self-sustaining social enterprise”.
Enter Behbud Creations, the textile brand that brings to life products handcrafted by Behbud’s women, each piece a testament to their skills and heritage.
“Although the communities we work with are diverse, they share a common experience: their migration and settlement during Partition,” Qureshi details, “This shared history became our focal point when we started. Our community includes Hindus, Christians, Afghan refugees, Punjabis, and a smattering of Pathans. Their manifold traditions bring diversity to the textiles we produce.” Karachi served as a diverse catchment area for Behbud; their geographical reach enveloped the families of truck drivers due to its proximity to the wharf. The drivers would be gone for months on end, leaving the women behind with the children. “These women became our students and then our craftspeople and our industrial home students.” In this way, Behbud honed an expertise mired in the practicality of lived experiences. This is mirrored in their product range, which includes stationery, toys, leather crafts, sandwich cosies and dollhouses, stemming from Behbud’s recycling of all material.
The Urdu-speaking and Punjabi women in particular had strong cultural ties to stitching and embroidery. They often made their clothes at home, each group bringing distinct styles and techniques to the table. The Urdu-speaking women were known for their refined stitches, while the Punjabi women brought a different style of embroidery and specific clothing cuts, such as the shalwar. Meanwhile, garments like the gharara, pyjamas and angarkhas became central to the creations of all the women, showcasing the fusion of various cultural influences.
“Nobody cuts a gharara quite like our women,” Qureshi proudly says.
The crafting focus has been on traditional skills such as stitching and embroidery; each community brought its unique styles, ensuring the preservation and teaching of these crafts. “Our mentors taught traditional cuts and styles, which we still retain and teach today.” Experienced women trained by their grandmothers laid the foundation for this endeavour by imparting their knowledge of classic techniques – from the intricate art of traditional garment cuts, such as the elegant Delhi cut and the sophisticated Lucknow cut. These techniques, representing centuries of craftsmanship, have been meticulously preserved and are taught to new artisans to ensure their survival. Among the skills imparted was the delicate and labour-intensive craft of smocking, a technique at risk of being lost in the modern age – a craft that Behbud remains committed to retaining.
For the first several decades, Behbud functioned without a structured marketing plan, relying on grassroots efforts and the dedication of its members; it was only eight years ago that Behbud implemented a formal marketing strategy. This leap into structured marketing has been crucial in expanding Behbud’s reach, ensuring that its mission and products touch the lives of a broader audience.
Despite the volunteers’ varied academic backgrounds, many holding Graduate or Master’s degrees in non-related fields, they lacked formal training in running a business. Marketing in particular was uncharted territory. “None of us were trained in fashion design or marketing. Our design ideas often come from everyday observations. We visit stores to see current trends and incorporate that feedback into our products. Our diversity ensures a timeless quality transcending trends. We also produce home linens, reflecting practical, lived experiences from Partition-era members,” says Qureshi. One of their standout offerings, a padded prayer mat, quickly became a niche bestseller.
“Print ads were too expensive, so we focused on grassroots marketing and strategic events. Our first mela (fair) was small but successful, leading to larger events. We formalised policies and partnered with event management companies to train our staff and ensure professional publicity.” Their marketing evolved from photocopied flyers to melas and eventually, the Behbud Fiesta, which attracted thousands. “We expanded our visibility through partnerships, like the Habitt kiosk, which helped us reach a broader audience. Although our standalone shop in Zamzama attracts a specific clientele, the Behbud Fiesta has a footfall of thousands, breaking down class divisions,” Qureshi recounts.
Embracing the digital age, Qureshi, who belongs to the “Facebook generation,” initiated their Facebook account. “When I joined Behbud, I was perhaps the youngest member at that point, and I was the only one within Behbud who was on Facebook.” Despite initial challenges, this move proved to be a valuable tool for outreach. “From Facebook, we learnt how to manage an Instagram account and today we have a presence on X and LinkedIn.” Currently, Behbud is working on a third website upgrade to enhance user experience, particularly for mobile users. The new website will enable online donations, volunteer sign-ups and include a comprehensive storytelling strategy that highlights not just their history but also their successes.
The customer base for Behbud Creations primarily comprises young mothers, women, and professionals looking for competitively priced, high-quality products. These women value affordability without compromising on quality. “We are our own best critics,” says Qureshi, underscoring the rigorous quality control processes that ensure every product meets the high standards set by the Behbud family.
Over the years, Behbud has experienced highs and lows, each phase serving as a learning curve. Today, their artisan base extends beyond Karachi and includes skilled workers in areas like Badin who specialise in unique stitching techniques and intricate patchwork. These artisans complement the local in-house artisans and those who work from home.
Behbud’s brand philosophy is deeply rooted in leveraging each artisan’s specific skills and pushing them to excel within their capabilities.
This inclusive approach ensures that while some women may master certain crafts, others contribute their unique strengths, but nobody gets left behind.
The stories of these women are as varied and vibrant as the products they create. For instance, there is the tale of a woman with weak eyesight who only knew how to knit. Despite her limitations, she has been a part of Behbud for 20 years and is now a master blockprinter – the greatest virtue of handcraft is that imperfections are inevitable. However, Behbud’s impact goes beyond individual stories. The organisation is a testament to the transformative power of collective efforts. Qureshi summarises this ethos, stating that “our mission is to nurture and empower women. We provide them with opportunities to learn, earn, and grow. Every product we create carries the story of a woman’s journey, her dreams, and her resilience.”
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Related Stories
The crafting focus has been on traditional skills such as stitching and embroidery; each community brought its unique styles, ensuring the preservation and teaching of these crafts. “Our mentors taught traditional cuts and styles, which we still retain and teach today.” Experienced women trained by their grandmothers laid the foundation for this endeavour by imparting their knowledge of classic techniques – from the intricate art of traditional garment cuts, such as the elegant Delhi cut and the sophisticated Lucknow cut. These techniques, representing centuries of craftsmanship, have been meticulously preserved and are taught to new artisans to ensure their survival. Among the skills imparted was the delicate and labour-intensive craft of smocking, a technique at risk of being lost in the modern age – a craft that Behbud remains committed to retaining.
For the first several decades, Behbud functioned without a structured marketing plan, relying on grassroots efforts and the dedication of its members; it was only eight years ago that Behbud implemented a formal marketing strategy. This leap into structured marketing has been crucial in expanding Behbud’s reach, ensuring that its mission and products touch the lives of a broader audience.
Despite the volunteers’ varied academic backgrounds, many holding Graduate or Master’s degrees in non-related fields, they lacked formal training in running a business. Marketing in particular was uncharted territory. “None of us were trained in fashion design or marketing. Our design ideas often come from everyday observations. We visit stores to see current trends and incorporate that feedback into our products. Our diversity ensures a timeless quality transcending trends. We also produce home linens, reflecting practical, lived experiences from Partition-era members,” says Qureshi. One of their standout offerings, a padded prayer mat, quickly became a niche bestseller.
“Print ads were too expensive, so we focused on grassroots marketing and strategic events. Our first mela (fair) was small but successful, leading to larger events. We formalised policies and partnered with event management companies to train our staff and ensure professional publicity.” Their marketing evolved from photocopied flyers to melas and eventually, the Behbud Fiesta, which attracted thousands. “We expanded our visibility through partnerships, like the Habitt kiosk, which helped us reach a broader audience. Although our standalone shop in Zamzama attracts a specific clientele, the Behbud Fiesta has a footfall of thousands, breaking down class divisions,” Qureshi recounts.
Embracing the digital age, Qureshi, who belongs to the “Facebook generation,” initiated their Facebook account. “When I joined Behbud, I was perhaps the youngest member at that point, and I was the only one within Behbud who was on Facebook.” Despite initial challenges, this move proved to be a valuable tool for outreach. “From Facebook, we learnt how to manage an Instagram account and today we have a presence on X and LinkedIn.” Currently, Behbud is working on a third website upgrade to enhance user experience, particularly for mobile users. The new website will enable online donations, volunteer sign-ups and include a comprehensive storytelling strategy that highlights not just their history but also their successes.
The customer base for Behbud Creations primarily comprises young mothers, women, and professionals looking for competitively priced, high-quality products. These women value affordability without compromising on quality. “We are our own best critics,” says Qureshi, underscoring the rigorous quality control processes that ensure every product meets the high standards set by the Behbud family.
Over the years, Behbud has experienced highs and lows, each phase serving as a learning curve. Today, their artisan base extends beyond Karachi and includes skilled workers in areas like Badin who specialise in unique stitching techniques and intricate patchwork. These artisans complement the local in-house artisans and those who work from home.
Behbud’s brand philosophy is deeply rooted in leveraging each artisan’s specific skills and pushing them to excel within their capabilities.
This inclusive approach ensures that while some women may master certain crafts, others contribute their unique strengths, but nobody gets left behind.
The stories of these women are as varied and vibrant as the products they create. For instance, there is the tale of a woman with weak eyesight who only knew how to knit. Despite her limitations, she has been a part of Behbud for 20 years and is now a master blockprinter – the greatest virtue of handcraft is that imperfections are inevitable. However, Behbud’s impact goes beyond individual stories. The organisation is a testament to the transformative power of collective efforts. Qureshi summarises this ethos, stating that “our mission is to nurture and empower women. We provide them with opportunities to learn, earn, and grow. Every product we create carries the story of a woman’s journey, her dreams, and her resilience.”
Read Comments
Related Stories
This inclusive approach ensures that while some women may master certain crafts, others contribute their unique strengths, but nobody gets left behind.
The stories of these women are as varied and vibrant as the products they create. For instance, there is the tale of a woman with weak eyesight who only knew how to knit. Despite her limitations, she has been a part of Behbud for 20 years and is now a master blockprinter – the greatest virtue of handcraft is that imperfections are inevitable. However, Behbud’s impact goes beyond individual stories. The organisation is a testament to the transformative power of collective efforts. Qureshi summarises this ethos, stating that “our mission is to nurture and empower women. We provide them with opportunities to learn, earn, and grow. Every product we create carries the story of a woman’s journey, her dreams, and her resilience.”