Chains, dark silhouettes and traditional Tajik fabrics might seem an unlikely combination. But for Shahina Olimzade, a young designer from Khujand, challenging expectations is precisely the point. Through her emerging fashion label BESÁR and debut collection QASHANG, she is bringing together Tajik cultural heritage, grunge aesthetics and a distinctly rebellious spirit. Speaking to Novastan Editor-in-Chief Mathieu Lemoine, she discusses her journey into fashion, the changing perceptions of traditional clothing and her ambitions for a new generation of Tajik designers.

Novastan: To begin with, could you tell us a little about yourself? How did you first become interested in fashion, and what role did growing up in Khujand play in shaping your identity as a designer?

Shahina Olimzade: I am a fashion designer from Khujand, Tajikistan, currently studying at the Saint Petersburg State University of Industrial Technologies and Design.

I have always enjoyed making things with my hands, but for a long time, it was just a hobby. In 2019, my mother noticed my creative interests and suggested that I learn sewing. To be honest, I wasn’t particularly enthusiastic at first. Growing up in Khujand, I had quite a stereotypical idea of what it meant to be a seamstress. I associated it with sewing clothes at home, and I knew almost nothing about the fashion industry.

Everything changed when my mother showed me haute couture collections by international designers. For the first time, I realised that sewing could be more than a craft. It could be a way of creating something original and expressing yourself through clothing. In 2020, I enrolled in cutting and sewing courses, and gradually began to realise that this was what I wanted to do with my life.

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At first, I wanted to make unusual, rebellious clothes. I was fascinated by the diversity of styles worn by young people in other countries. In Khujand, at least in my surroundings, young people did not always feel free to express themselves through their clothes because of social expectations and stereotypes about how they should look.

I was also rather sceptical about traditional Tajik clothing. To me, it mostly meant colourful, elaborate dresses worn at weddings and celebrations.

My perspective changed at university. During a practical course at an ethnographic museum, we studied and sketched traditional costumes from different cultures. That was when I became genuinely interested in the history of Tajik clothing.

I was surprised to discover how different the clothes worn by our ancestors were from what we now commonly regard as traditional dress. I realised there was a much richer history behind those familiar festive outfits, one that many of us know very little about.

That discovery inspired me to explore our cultural heritage and think about how it could become part of contemporary fashion.

I believe Khujand has had a profound influence on my work. Growing up, I saw how social expectations could limit people’s freedom to express themselves. I wanted to show that you can dress boldly, look unconventional and still remain connected to your culture.

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Over time, I realised that I especially wanted to design for young people. I think many young people distance themselves from their traditions not because they are uninterested in their culture, but because they struggle to find something in it that reflects their lifestyles. I want to challenge that perception and show that Tajik cultural heritage can also be modern, daring and even a little rebellious.

Your collection QASHANG caught our attention for its striking reinterpretation of Tajik cultural motifs. How did the idea emerge, and what inspired you to combine traditional fabrics with such an unconventional aesthetic?

QASHANG marked the beginning of my journey towards developing my own design language and creating my brand, BESÁR.

It began during a university assignment last year, when we were asked to design an outfit incorporating ethnic elements in a contemporary way.

Initially, I imagined something elegant and sophisticated. I spent about two weeks working on sketches, but eventually realised that none of them reflected who I really was.

I remember travelling to class on the metro and suddenly asking myself: Why should I follow certain standards? Why should I create something that doesn’t express my personality or my vision of fashion?

About twenty minutes before class, I completely redesigned my sketches and presented them to my supervisor, Asya Sergeyevna Akinshina.

She was amused that I had changed my entire concept at the last minute, but she supported my decision. Throughout the semester, she helped me refine the design while preserving my personal style.

The final outfit consisted of a skirt and vest made from finely patterned Tajik adras fabric. I added chains and a traditional men’s skullcap, which I also decorated with chains and ethnic motifs. I received an excellent grade for the project.

With my supervisor’s encouragement, I decided to develop the concept into a full collection.

At the time, I was fascinated by punk culture and grunge. I was studying the work of Vivienne Westwood and other designers who experimented with alternative aesthetics. I wanted to combine that rebellious spirit with Tajik cultural heritage.

I wasn’t interested in producing yet another collection of traditional clothing. I wanted to explore what ethnic fashion could look like through the lens of grunge.

I began developing QASHANG in the summer of 2025. It eventually became my debut collection at the Admiralty Needle fashion competition, where I reached the final.

The name is especially meaningful to me. Qashang is associated with beauty in Persian, but in the Khujand dialect, the word can also describe a stubborn, strong-willed girl.

That is exactly the character I wanted to portray: a young woman who is not afraid to express herself, dresses boldly and refuses to forget who she is or where she comes from.

My main inspiration was adras, a traditional fabric particularly associated with Sughd, the region where I grew up. I wanted to work with a material that had a direct connection to my home.

But I deliberately chose a black-and-grey palette. In Tajikistan, traditional fabrics are often associated with bright colours and rich patterns. I wanted to see what would happen if I approached adras in a completely different way.

The ikat patterns became the visual focus, while the dark colours, chains and layers introduced a more rebellious character.

I wanted to demonstrate that Tajik textiles could be bold, unconventional and even a little dark, rather than exclusively festive or decorative.

QASHANG was the first time I stopped trying to fit my ideas into conventional expectations of ethnic fashion and began developing an approach that felt genuinely my own.

When working with traditional clothing, designers often face the question of how to preserve cultural heritage while creating something new. How do you strike that balance?

For me, respecting cultural heritage does not mean preserving everything exclusively in its original form. Culture remains alive when people continue finding new ways to engage with it.

I don’t want to simply attach traditional elements to modern clothes and call the result ethnic fashion. I find it much more interesting to understand why a particular ornament, fabric or silhouette emerged, what it originally meant and how it might be interpreted today.

At the same time, I don’t want to be constrained by conventional ideas of what Tajik clothing should look like.

I love grunge, oversized silhouettes, layering and darker colours. I want these aesthetics to coexist with Tajik identity.

I think it is important to show that belonging to a particular culture does not mean you have to dress in a particular way. You can love your heritage while experimenting, breaking conventions and developing your own aesthetic.

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You recently launched your label BESÁR. What does the brand represent, and what makes its philosophy distinctive?

I had been putting off launching BESÁR for quite a long time. I kept telling myself that it was too early and that I still needed to learn more.

But in the spring of 2026, I finally decided to take the plunge and created an Instagram account for the brand to begin sharing my work.

The idea had already emerged while I was developing QASHANG. I have always wanted to create clothes that do more than simply look beautiful. I believe what we wear says something about us, sometimes without us even realising it.

Today, when so many people follow the same trends, individuality can get lost.

I want clothing to tell a story about the person wearing it, rather than simply demonstrate that they are fashionable.

Think of a ring that has been passed down through generations of a family, or an old pair of worn-out trainers that someone keeps wearing because they are associated with important memories.

For some people, these are just objects. For me, they can tell an entire story.

I approach my own clothes in much the same way. Their meaning doesn’t necessarily have anything to do with their price or appearance.

Through BESÁR, I want to explore how clothing can express someone’s character, experiences and attitude towards the world.

I’m drawn to oversized silhouettes, layering, grunge and darker colours. I know that dark clothing can sometimes be perceived as gloomy or negative, particularly in certain cultural environments. But for me, it is simply another form of self-expression.

I also want to integrate Tajik cultural elements into everyday fashion rather than treating them as something separate or reserved for celebrations.

Ultimately, the central idea behind BESÁR is that clothes should not force people to adapt to them. They should reflect who people really are.

You have also gained experience in China, including a placement with the Dayang Group. What did this opportunity teach you about fashion design and clothing production?

My internship in China was made possible by Tajikistan Fashion Week and IM Group.

During the trip, I spent ten days learning about the production of high-quality men’s jackets at Dayang Group, including garment construction and techniques associated with classical Italian tailoring.

It made me realise just how much knowledge, precision and technical work goes into producing a finished garment.

No matter how beautiful a silhouette may be, a piece of clothing is incomplete without good craftsmanship.

I believe quality is especially important today, when fashion is increasingly driven by microtrends that might disappear after a single season.

Personally, I am opposed to that approach because it encourages overproduction and has negative environmental consequences. I much prefer the idea of creating clothes that remain relevant and valuable for longer than a year.

At Dayang Group, I saw how professionally men’s jackets are produced for Italian and other European brands. I was particularly fascinated by the technical complexity hidden behind the apparent simplicity of a classic jacket.

We also attended events during Dalian Fashion Week, where I encountered a different side of China’s fashion industry.

I was impressed by how Chinese designers incorporated traditional cultural motifs into contemporary and classical clothing. These elements were not presented merely as festive decoration or traditional costume. They became an integral part of modern design.

That was particularly relevant to my own work because I am trying to do something similar with Tajik cultural heritage.

The experience showed me the importance of combining a distinctive creative vision with technical excellence, attention to detail and quality production.

How would you describe Tajikistan’s fashion scene today? Are younger designers and consumers becoming more open to experimentation with traditional clothing?

Over the past few years, I have noticed growing interest in ethnic motifs in Tajikistan’s fashion scene, which makes me very happy.

People are increasingly turning to their cultural heritage and wearing clothes that combine Tajik motifs with contemporary design.

Importantly, this is no longer limited to traditional costumes for holidays and special occasions. It is also becoming part of everyday fashion.

What excites me most is the emergence of a new generation of young Tajik designers.

Each has a different perspective and aesthetic. Some work with traditional fabrics, while others experiment with silhouettes, tailoring or decorative embroidery.

I find it fascinating to see how differently designers can interpret the same cultural heritage.

Many of them are not simply reproducing traditional costumes. They are creating something new from them.

I am also pleased that platforms are emerging to support these designers. Tajikistan Fashion Week, for example, gives new talents opportunities to present their collections and gain visibility.

That matters because talent alone is not enough. Designers also need professional experience, opportunities to showcase their work and ways to reach an audience.

I believe Tajikistan has enormous potential to develop contemporary fashion rooted in its cultural heritage.

I would like to see designers continue experimenting freely and developing their own creative identities, without losing their connection to Tajik culture.

What are the main challenges facing young designers in Tajikistan, particularly when it comes to production, financing and reaching customers?

One of the biggest challenges is turning a creative idea into a product that can actually be manufactured, sold and developed into a sustainable business.

Creating a collection requires more than design skills and time. You need financial resources, suitable materials, prototypes, manufacturing arrangements, a presentation strategy and, ultimately, customers who are interested in what you create.

For a young designer without substantial starting capital, each stage presents a challenge.

There is also the question of finding a market for original designs. Sometimes, there is a considerable gap between what you want to create and what customers are accustomed to buying.

I think young designers particularly need better access to manufacturing facilities, support programmes for emerging labels, professional mentorship and platforms where they can introduce their work to potential customers.

International connections are equally important.

Participating in competitions, undertaking internships, meeting manufacturers and presenting collections abroad can significantly expand a young designer’s opportunities.

Tajik fashion remains relatively little known internationally. What would help designers from the country gain greater recognition abroad, and where would you like to take BESÁR?

I don’t think simply displaying national motifs is enough to achieve international recognition.

At university, we are constantly reminded that a designer needs an original concept, a recognisable aesthetic and a high-quality product.

Tajikistan has an incredibly rich cultural heritage, but we should not limit ourselves to showcasing it.

We need to demonstrate how it can evolve, interact with contemporary trends and respond to the interests and concerns of people today.

Professional connections between designers, manufacturers, educational institutions and international fashion platforms are also essential. Competitions, internships, exhibitions and collaborations with foreign specialists can help young designers gain experience and visibility.

Personally, I would like BESÁR to become a contemporary Tajik fashion label that appeals to people beyond Tajikistan.

I want someone from a completely different cultural background to find something relatable in my designs, while discovering elements of Tajik culture along the way.

I don’t want Tajik fashion to be seen exclusively as part of an ethnographic heritage.

I want it to be recognised as a living, contemporary industry with its own new ideas, aesthetics and creative voices.

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Finally, what comes next for you? Are you working on new collections, and what would you most like to achieve as a designer?

I am currently developing a collection called Simurg as part of my graduation project.

It is inspired by the Simurgh, the mythical bird from Persian tradition.

However, I don’t want to depict the bird literally or create a collection based entirely on mythology.

Instead, I want to use the image as a starting point for a contemporary interpretation of Tajik cultural heritage, expressing my own vision through silhouettes, materials and decorative elements.

Eventually, I would like to develop the concept into a complete collection of ten looks and present it on a runway in Tajikistan, and hopefully later at international events.

I am interested in creating both everyday clothing and more elaborate designs. I’m still exploring the balance between these directions, so the concept continues to evolve.

In the longer term, I would also like to study the history of Tajik clothing in greater depth.

Over the past year or so, I have become increasingly interested in historical sources, archives and academic materials about our costumes and traditions.

I am particularly curious about how Tajik clothing developed over different historical periods, including how its evolution compares with the history of European dress.

We learn a great deal about European fashion history, but I want to understand our own cultural heritage more deeply, not only as a designer but also from a historical perspective.

There are, of course, specialists in Tajikistan who study costume and cultural history. But I feel their work does not always receive enough attention outside academic circles.

I would like to contribute to making this knowledge more accessible and bringing it into contemporary fashion.

Perhaps this interest in history also comes from my family. On my mother’s side, there are academics who worked in the humanities. My mother herself has always encouraged my love of history and culture, and she promotes our traditions both in Tajikistan and abroad.

For me, using ethnic motifs is not simply a matter of decoration. I want to understand where they came from, what they meant and what place they occupied in people’s lives.

That is also the direction in which I want BESÁR to develop.

I don’t want the brand to be just about designing and selling clothes. I want it to have a philosophy rooted in history, cultural identity and the possibility of seeing our heritage in a new light.

Above all, I want people to be able to recognise and feel connected to their culture through the clothes they wear every day.

I am still at the beginning of my journey, and I know I have a lot to learn. But this is the direction I want to pursue in the years ahead.

By Mathieu Lemoine, Editor-in-Chief for Novastan English.

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