Umed Kuchkaliev Couture Brings Bright Color, Bold Patterns to Kazakhstan Fashion Week

By Jesse Scott

As Central Asian fashion continues to gain international momentum, with Kazakhstan establishing itself as the leader in the space, Umed Kuchkaliev Couture took the runway in Almaty this November and reminded guests that Tajikistan is also undergoing a sartorial resurgence. The only Tajik designer at Kazakhstan Fashion Week, which included brands from South Korea, Russia, Uzbekistan, Georgia, and Kyrgyzstan in addition to the host country, Umed Kuchkaliev dazzled with a series of vibrant looks that showcased national patterns and silhouettes alongside contemporary cuts.  

Kuchkaliev has been a major player in modern Tajik fashion almost since its origin (the industry slowly started developing following the conclusion of the Tajik Civil War in 1997). Kuchkaliev, like many Tajik designers, began his career without any formal fashion education. He hosted his first show at a Dushanbe nightclub in 2005, predicting that the venue would be the best place to find potential clients in a city where fashion-forward people wealthy enough to afford his designs were scarce. As Tajik fashion evolved, so did Kuchkaliev’s career, which has led him to shows in London, Rome, and Seoul. But his core market remains in Central Asia, making Kazakhstan Fashion Week a particularly important stage.

Tajik fashion, particularly in terms of form and cut, moves slowly.  Kuchkaliev excels in lending a contemporary couture touch to national dress, elevating familiar garments with luxurious craftsmanship and a blend of patterns that pivot between Tajik traditional and modern international. Almost every look that appeared on the runway was highlighted by a richly-colored caftan robe in the national style. The patterns, many showcasing Tajikistan’s famous chakan embroidery and resplendent in shades ranging between bordeaux, periwinkle blue, Schiaparelli pink, and emerald green, were simply breathtaking. A Western-style floral pattern and sleek white look with oversized black houndstooth rounded out the caftan collection.  

Equally memorable to the caftans, however, were the accessories and layers they were paired with. Instead of traditional dresses, the models wore masculine shirt/trouser combinations, many with ties and elegant double-breasted vests.  And instead of traditional headwear, the looks were completed by jaunty flat-brimmed fedoras, several in shades of sea foam green, Mediterranean blue, and bright plum that would look at home in Capri or Santorini. Kuchkaliev’s interplay between the masculine and the feminine was masterful, and perhaps reflective of a 21st century Tajik woman who can find a peaceful coexistence between preserving cultural values and embracing contemporary sensibilities. As Umed Kuchkaliev enters his third decade in fashion, it will be fascinating to see how both his designs, and those of the next generation of Tajik designers (who can view him as a national benchmark) continue to evolve.