In the heart of Almaty, at the age of 52, Gulsum Baizakova sits in her bustling atelier called "Asyl Oner." As we begin our conversation, she shares insights about the clothing industry in Kazakhstan. It is a field predominantly dominated by women, with only a few male designers in the country. Gulsum’s atelier stands as a testament to the creativity of these female artisans who make their living through their craft.
Gulsum's venture into this business was born out of her deep-rooted desire to recreate and celebrate Kazakh traditional style. For her, it is not merely about making money; it is about preserving and promoting the traditional garments that hold immense cultural significance.
She traces her passion back to her childhood, growing up in a culturally rich family. Immersed in the warmth of her grandmother's presence, she witnessed the intricate artistry of handmade textiles, particularly woolen fabrics. Her mother, too, was a tailor who skillfully created her own clothes as well as those of her children. Through her family, Gulsum inherited not only the technical skills but also a profound understanding of the meaning behind different decorative ornaments and patterns. These symbols were not just decorative elements; they carried the history and identity of Kazakh tribes. They were woven with the wishes of good fortune, protection from the evil eye, and blessings. Each ornament told a story, and by studying them, one could discern a person's heritage. This knowledge, passed down through generations, flowed through the matrilineal line, connecting mothers and daughters in a tapestry of tradition.
Gulsum's pursuit of this business is also fueled by memories of a time when Kazakhstan was part of the USSR, and traditions faced immense pressure. She vividly recalls how her mother would face criticism even from her own friends for donning traditional Kazakh clothing. Religion, too, was suppressed, and practicing one's faith was confined to the privacy of one's home. Wearing traditional attire or embracing traditional cultural practices was often seen as regressive and uneducated by society at large. Yet, despite these societal pressures, Gulsum's mother's love for traditional clothing left an indelible mark on her. It ignited a flame within her, a yearning to honor and preserve the cultural heritage that was being stifled. It was a challenging era where the people of the USSR were discouraged from embracing their traditional cultural identities. But winds of change are now sweeping across the material culture of Kazakh society. Guslum observes a growing interest among both the older and younger generations to reconnect with their roots, to rediscover their traditional culture and identity.
Gulsum firmly believes that as an independent nation, Kazakhstan should embrace and promote its rich traditions, passing them on to the younger generation. She has witnessed a resurgence in the popularity of traditional clothing, not just within Kazakhstan but also among Kazakh diaspora in other countries. Even abroad, people are now proudly celebrating their roots and seeking to don their traditional garments. And it is not just women who are showing this renewed interest; Gulsum has noticed a rising curiosity among men as well. The latest fashion trend among the youth is to wear the traditional head cap called "takiya." This wave of enthusiasm signifies the emergence of a new generation ready to reclaim forgotten cultural aspects and celebrate their heritage.
For Gulsum, this resurgence and the growing appreciation for traditional clothing are what inspire her every day. It is a testament to the enduring power of culture, a reminder that our roots hold a profound significance in shaping our identities. As she tirelessly works in her atelier, Gulsum is driven by a sense of duty, a passion to preserve and promote the beauty of her nation's traditional garments. Through her craftsmanship, she weaves together threads of history, identity, and pride, ensuring that the rich tapestry of Kazakh culture remains vibrant and alive for generations to come.
Gulsum Baizakova
