Is the making of the Jinnah cap a dying trade?
Inside the labyrinth of Karachi’s Teen Hatti locality is a small, three-room house. An ordinary quarter on the outside, it houses an extraordinary man and his small family.
Mohammad Sultan is one of the two or three surviving artisans of the karakul — the cap worn by the Quaid-i-Azam and the one which came to be known as the Jinnah Cap. Sellers of Jinnah caps swear that he is the finest artisan of the surviving lot.
The traditional cap sellers are a miniscule, tightly-knit community in Karachi. A day earlier, the search for the finest karakul maker had begun in the old-city shopping district of Saddar. One seller directed me towards another cap-maker before apologetically adding that the man was less a maker and more a repairman. At the next shop, I hit gold.
“Sultan is the best in town but he lives at Teen Hatti,” says Altafur Rehman of Rehman Cap & Hat Company. This shop has existed since 1948, as a stall on the pavement along the road, before a building was raised in 1978 at the same location and street vendors were accommodated inside.
“It’s not an area for cars. You can go on a bike or walk.”
The directions were spot on. Everybody in the neighbourhood knew where Sultan Bhai lived and how to get to his place.
Sultan Bhai wasn’t home the first time. His daughter told us he’d be back in the evening and to return then.
It turns out that the best Jinnah cap-maker in the city is actually an office assistant working full-time at a school. The last surviving makers of this dying craft see their work as a labour of love. Earnings from weaving caps supplement family income but are never the primary source.
“My father lost his eyesight making caps,” narrates Sultan. “This trade is generational, even my great grandfather used to weave caps.”
The family hails from Delhi and Sultan says his ancestral family shop used to be at the famous Kashmir Gate. Sultan himself has never seen India — he was born in Karachi in 1961 — and much like the craft itself, family stories of making the karakul have been carried forward by tradition.
But it seems that the line will now end at Sultan.
He has no heirs to the trade nor does he intend to train his offspring.
“In the larger scheme of things, making Jinnah caps alone is not a recipe for survival,” he says. “I have lived the time when we’d be making 20 caps every day. But since I have gone part-time, that rate has slowed down. Now it depends on the orders I receive.”
The conversation shifts to the romance associated with the karakul: it denotes culture and identity but it equally symbolised a cultured upbringing.
“Do you know that Quaid-i-Azam never wore a cap that was made in Pakistan. His caps had all come with him from India.”
The Jinnah cap is indeed one of the most popular in the karakul family of caps but it also has rivals. The Liaquat (Ali Khan) Cap has also been in vogue as has the one worn by Maulana Kausar Niazi. While the Jinnah cap is a perfect oval, the Liaquat Cap is flattened at the bottom and looks similar to the Turkish cap, the Fez.