Zarif Design: Zolaykha Sherzad's Vision for Afghan Craft
“Zarif” is a Persian word that speaks of beauty and inner grace. Often translated as “elegant” or “delicate”, Zarif can describe an object, an artwork, or a gentle spirit. It is a way of being that resonates with artist-designer Zolaykha Sherzad, founder of Zarif Design, whose graceful presence reflects the emotional beauty of her suzanis and the relaxed elegance of her ethical fashion.
Born in Kabul, Sherzad fled her country at age eleven. Her family resettled in Switzerland, where she later earned a master’s degree in architecture. She now lives in New York.
With the intention to restore pride and meaning to disregarded or forgotten traditional crafts, Sherzad returned to her homeland in 2002, looking to build a viable, sustainable initiative that could support Afghan women financially and be rooted in Afghanistan’s cultural heritage.
When she returned and walked through the streets of Kabul, she was struck by the bright textiles still hanging from shopfronts and markets, unlikely yet powerful signs of life in a land scarred by decades of war. “These textiles were lights in the dark. They held the soul of the past,” she recalls. This unexpected burst of colour carried a sense of hope, sparking the idea for a handwoven textiles project that felt like a natural continuation of Central Asia’s centuries-old crafts.
Zarif embroidery by Zolaykha Sherzad, founder of Zarif Design.
The main goals were to revive traditional skills and rebuild a sense of worth in livelihoods tied to the beauty of weaving. After three decades of conflict had dismantled the artisanal textile production chain, her first challenge was to piece it back together, step by step, in close collaboration with the master weavers of Mazar-e-Sharif and Herat. Today, Sherzad oversees every stage of production, creating the colour palettes and fabrics that define her work.
Zarif Design was founded in 2005 as a social enterprise to support women and men artisans. From there, trailblazer Sherzad carved out a fashion niche by mixing ancient weaving techniques with bold contemporary designs.
The Chapan, a raw silk coat with bright green, white and purple stripes traditionally worn by men in Central Asia, was thoughtfully repurposed for women. The stylish fitted coat quickly became the hallmark of the brand after the first runway show. This early recognition marked a turning point, helping the team grow steadily from just eight members to 50. It further gave the designer a strong boost of confidence and prompted her to embrace creative freedom and push the boundaries of the textile traditions she dreamed of reviving. Meanwhile, rising export demand for Afghan silk helped sustain a craft that was close to disappearing.
The Chapan’s fabrics are woven using age-old techniques that keep ancient skills alive and tie Afghanistan to the long history of the Silk Road. “The Chapan carries a way of life. I redesigned it so women could take part in a cultural heritage that is central to Afghan identity. I did not want them to be left out. This textile heritage is the force I lean on to create contemporary pieces and to keep moving forward after decades of war and hardship,” she says.
Hand embroidered garments at Zarif Design.
Zarif’s new style of suzani grew from the urgent need to revive an overlooked tradition. “In a war-torn country, preserving cultural heritage is a luxury,” admits Sherzad. Drawing on traditional motifs and her own artistic vision, Sherzad set out to design garments that transcend borders and cultures, their clean and modern style now worn in New York, Paris, and Milan.
Suzanis, from the Persian word suzan meaning needle, are central to the traditions of nomadic communities across Central Asia. Historically used as wall hangings or bed covers, they were crafted within families for many months as part of a young bride’s dowry. “Suzanis are a powerful expression of women’s art. Women pour their hearts and souls into them. Each motif becomes a deeply personal and artistic form of communication. Each embroidery carries a wish, a prayer. Suzanis are good luck charms and symbols of protection for young women leaving their parental homes,” says Sherzad.
She initially borrowed Suzani flowers to adorn the collars, sleeves and cuffs of her coats. During the pandemic and the U.S. withdrawal (2019–2021), the atelier was forced to close and to keep it financially alive, she designed large floral wall hangings that women could embroider from home, then assemble later. These artworks were exhibited at the Musée national des arts asiatiques - Guimet in Paris and the Peace hanging has since entered their permanent collection.
Hand embroidered garments at Zarif Design.
These artworks inspired the vibrant Lalah Flowers series, still lifes rooted in patterns passed down through generations. “Embroiderers continue the stitches of their great-grandmothers, shaping lilies that symbolize delicate beauty and quiet strength, or pomegranates that symbolize fertility and abundance,” she explains. The motifs have been refined over the years, but Sherzad remains committed to traditional patterns that hold the collective memory of Afghan women. She believes they allow embroiderers to take pride in their craft.
The striking embroidered Tulips coat (Gol-e-Lalah) channels a love of nature that runs deep in Afghan culture, and as she notes, “adds a spiritual dimension to daily life”. The beige wild silk suggests the arid Afghan steppe, set against the vivid tulip flowers that bloom in the mountains. The piece is a bold nod to the Gul-e-Surkh Tulip Festival in Mazar-e-Sharif, a northern city known for its rich tradition of artisanal weaving. Wrapped in a coat embroidered with oversized tulips, the woman’s silhouette becomes a vibrant, organic tribute to life. “The tulip means a lot to me. It’s a symbol of love and beauty, and it connects the East and West,” says Sherzad. With a lining embroidered with apple blossoms (Gul-e-seb), the flowing coat is a joyful celebration of blooming flowers.
Closest to the body shaping a private space, linings carry gentle designs with small messages and floral details. The traditional red and black apple blossom motif often seen on men’s scarves comes from Hazara heritage of the Bamiyan Valley. Sherzad borrowed this popular pattern to add a soft contrast to the coat’s bold, flamboyant style.
Her abstract calligraphy pieces fuse the beauty of embroidery with the spiritual art of calligraphy. For the spectacular Hedoshma coat, she teamed up with a calligrapher to shape large sculptural letters that swirl with the body’s movement, echoing the sacred spirals of the Sufi dance.
Zarif embroidery by Zolaykha Sherzad, founder of Zarif Design.
In the heart of Kabul, the Zarif studio is a quiet haven where master tailors and seamstresses find a brief respite from daily hardship. It is a space of gentle resistance, nurturing creativity and connecting people across cultures. Many embroiderers work from home, crafting intricate, time-consuming pieces. Creative work in the atelier plays a key role, offering small glimmers of hope to young girls banned from school. Over the past three years, Sherzad has mentored and taught Afghan girls, sketching, quilting, embroidery, and tailoring skills. “Needlework skills are transgenerational. Girls can practice them at home and work toward financial independence,” she explains.
Collaborations are creative ways to weave traditions with modernity. Capsule collections created with French designer agnès b., a longtime supporter, and with Atelier Jolie, Angelina Jolie’s brand known for its ethical production, celebrate a strong sense of sisterhood.
Sherzad’s steady support for Afghan artisans often finds strength in Persian poetry. Her upcoming collection takes inspiration from the Sufi mystical poem The Conference of the Birds by Farid al-Din Attar.
Written by Anne Laure Camilleri
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Zarif embroideries by Zolaykha Sherzad, founder of Zarif Design.
Photos: Anne Laure Camilleri