For decades, the name Aarong has been synonymous with the preservation and promotion of Bangladesh’s unique cultural identity. From its humble beginnings as a project of BRAC in 1978, Aarong has grown into a beloved institution, renowned for its commitment to quality, ethical practices, and the exquisite craftsmanship of its products, ranging from handloom textiles and Nakshi Kantha embroidery to pottery, jewellery, and beyond. This dedication to showcasing the skills of Bangladeshi artisans has not only provided sustainable livelihoods but has also played a vital role in keeping age-old traditions alive in a rapidly modernising world. Now, in the heart of Dhaka’s lively Dhanmondi district, Aarong’s narrative progresses with the arrival of its newest outlet.
The rationale behind choosing Dhanmondi is steeped in nostalgia and strategic foresight. The ambition to create the world’s largest craft store wasn’t born out of vanity, As Tamara Abed, Managing Director of Aarong, explains, the decision to establish this noteworthy Aarong presence in Dhanmondi was a natural progression, rooted in the brand’s origins. “Dhanmondi is where Aarong first began its journey and fostered strong community ties during its formative years, aligning perfectly with our target market. So, returning to Dhanmondi felt like a homecoming, a full circle moment.” This opportunity arose when suitable land became available, allowing Aarong to envision and construct a flagship store tailored to their aspirations. While a flagship store was established in Uttara in 2011, driven by the global trend of flagship retail spaces and a desire to narrate Aarong’s compelling story beyond a conventional retail setting, the vision for a central location
like Dhanmondi as the ultimate home for their true flagship always persisted. The opportunity to construct a purpose-built store allowed Aarong to fully realise its vision of a space that could both showcase its products and celebrate the nation’s creative spirit. This ambition is brought to life through collaborations with key figures: architect Patrick D’Rozario of Synthesis, interior designers Brian Quirk and Mahmudul Anwar Riyad, and constructor Charuta, alongside Aarong’s dedicated in-house team.
Thinking back to her initial vision for this space, Tamara Abed hopes that this landmark underscores Bangladesh’s rich and evolving heritage – both within Bangladesh and perhaps even internationally. Abed states. “This landmark, we believe, will build confidence across the board – for our customers who trust the Aarong brand, and especially for our artisans who will witness their creations celebrated on such a prominent stage. We hope it will instill a sense of pride in their work and highlight the beauty, resilience, and immense creativity inherent in our country. Ultimately, this craft store is space,Ultimately, this craft store is intended to embody the best of Bangladesh and present it to the world.”
This vision for a significant landmark in Dhanmondi has now materialised in the form of the BRAC-Aarong commercial building, located on Plot #23, Road #2, Dhanmondi, is a structure that demands a second look. This substantial 13-storied structure, encompassing a considerable footprint with one semi-basement and three full basements, outshines the former Dhanmondi Aarong outlet just a short distance away. This architectural undertaking, designed by Patrick D’ Rozario of Synthesis Architects, presents a complex statement that warrants a closer look. Its layered concrete facade hints at a depth of concept that extends beyond mere retail functionality, inviting a re-evaluation of its place within the urban fabric.
The selection of the architect was a deliberate and considered choice, as Tamara Abed notes. “The seed was planted quite a few years ago, and as we thought about who would design the building, we went back to our beginning. We had worked with Patrick D’ Rozario of Synthesis Architects previously for our Uttara flagship store and had a very good experience. It met our expectations, so we thought, ‘Why not work with the same team?’” This prior collaboration established a foundation of trust and understanding for this ambitious project.
The building’s design draws heavily from the concept of ‘weaving.’ This fundamental craft, central to Aarong’s ethos, became the primary source of inspiration. Principal Architect Patrick D’ Rozario explains, “’Weaving’ – a fundamental craftsmanship which has been practiced by local artisans for the centuries was our key inspiration while designing the Aarong building at Dhanmondi. The traditional process involves interlacing the yarns to create the fabric on a loom resulting in various products ranging from clothing to crafting a beautiful bag and many more.” It is this idea of interlacing threads that gives the building its unique identity.
This concept manifests in the building’s facade. What D’ Rozario calls ribbons – bands of concrete – wrap and intertwine across the building’s surface. As he puts it, “Bridging the century-old tradition to 21st-century urban life, a narrow strip of fabric, a ribbon, has been manifested into the fluid concrete surface of the building to embrace the fluidity of the dynamic urban life.” The architect’s vision extends to the visitor experience, aiming to create a memorable journey within the retail environment. “A visitor in the shopping environment expects wonder and a touch of beauty or art everywhere, which starts from the site entry to the very end of the shopping experience. They want a memory that lasts and also adds to an impulse coming back and back again.” While the building’s aesthetic may be unconventional, it prompts a dialogue about the relationship between tradition, modernity, and urban space.
Reflecting this intention to infuse art into the retail space, the new Aarong flagship store presents a carefully curated environment. Within its space, showcasing the best of modern Bangladeshi craftsmanship, stands ‘Santal Gaon,’ a compelling installation that commands attention and invites contemplation. With profound respect and artistic sensitivity, Marufa A Chowdhury, a Senior Designer at Aarong, finds her muse in the Santal’s unpretentious existence. The elemental language of earth, air, and water, which Chowdhury notes are the very three elements that make up our home, this Earth, finds tangible expression in the principal medium: clay. Shaped by these fundamental forces, the clay forms a quiet symphony of a life deeply rooted in nature.
Chowdhury’s work meticulously recreates the objects of daily life: the pitha moulds, bharta bowls, humble oil lamps, diminutive pitchers alongside more substantial water vessels, and charming Tepa Putul. Each object whispers narratives of tradition and the unhurried cadence of village life. Encircling this tableau, clay tiles etched with stories inspired by Nakshi Kantha create a timeless backdrop, whispering tales of a rich and enduring heritage deeply intertwined with the natural world. The creation of ‘Santal Gaon’ was a collaborative effort, involving nearly a hundred potter families from across Bangladesh, each contributing their skills and artistry to this remarkable piece.
Chowdhury’s time in Santiniketan was a formative period in her life. There, she developed a profound connection with the Santali people, whose existence is rooted in the earth and expressed through simple yet elegant homes and lifestyle, resonated with her deeply. Rabindranath Tagore’s educational philosophy, which celebrated creativity and intuition, further empowered Chowdhury, providing her with a new artistic language. Returning to Dhaka, Chowdhury sought to capture the tranquility she found in Santiniketan within the context of city life. The Santali home, a recurring motif in her art, became a symbol of groundedness amidst urban chaos, evoking a range of emotions and prompting reflections on personal and collective identity.
Tamara Abed offers invaluable insight into the project’s inception, recalling her initial encounter with Chowdhury’s work, stating, “When I interviewed Marufa some years ago, I distinctly remember seeing in her portfolio this work she had done on ‘Santal Gaon’ during her Santiniketan days. That particular artwork resonated deeply with me; of course, one of the main reasons I hired her. I constantly entertained the idea of incorporating it in some appropriate context.” The strategic placement of ‘Santal Gaon’ within a retail environment is particularly astute. Chowdhury consciously seeks to dismantle the conventional barriers of the gallery, democratising the artistic encounter. As shoppers ascend the escalator, they are drawn into the Santal landscape, the artwork becoming an immersive space for reflection amidst their daily errands. The piece operates on multiple registers, offering a striking visual presence from afar while rewarding closer inspection with rich textures and intricate details that beckon deeper engagement. “I wanted my artwork to act like functional interactions with the people,” Chowdhury states, emphasising her desire to integrate art into the fabric of daily life. “When you enter the store you will travel with the Santal landscape.” Expanding on this concept of integrated art experiences, the flagship store also features another noteworthy installation.
To encounter ‘MohaArongo: The Great Arena’ is to be drawn into a rich and multifaceted narrative articulated through the meticulous language of textile art. This imposing Nakshi Kantha, extending an impressive 10 feet in width and ascending 44 feet in height, currently commands the new Aarong Flagship Store’s Feature Wall, a profound statement on Aarong’s legacy rendered through resourceful artistry. Aarong’s extensive network, encompassing over 87,000 artisans, includes a substantial group of more than 60,000 who contribute their specialised skills through the Ayesha Abed Foundation’s widespread infrastructure. The Nakshi Kantha, therefore, serves as a visual representation to this remarkable collective effort and the inherent artistry of its many creators.
The inception of this ambitious creation can be traced to Sami Alam’s return to Bangladesh following his postgraduate studies in Contemporary Fashion at the International Fashion Academy of Paris, an endeavour supported by an Aarong employee scholarship. His initial proposal for the Dhanmondi flagship envisioned the very essence of Aarong’s narrative expressed through reclaimed materials and the refined skills of the Ayesha Abed Foundation’s artisans. Tamara Hasan Abed, Managing Director of BRAC Enterprises, recognised the inherent potential in Alam’s concept, elaborates on the selection of Sami Alam for this significant commission, “Sami Alam, whom we supported in his fashion design studies in Paris a few years ago, notably dedicated his final collection to the Rana Plaza tragedy and the broader implications of ‘Made in Bangladesh.’ That particular focus resonated deeply. Consequently, when the opportunity arose, As someone deeply familiar with Aarong’s ethos and internal dynamics,
Sami Alam seemed the natural choice.”
The conceptual underpinnings of ‘MohaArongo’ delve into the rich strata of Bengali heritage, exploring the intricate relationship between artisans and the natural world, ancestral lineages, folklore and mythology, and the very fabric of cultural identity. It is an artwork that resonates with a deep sense of origin, an evocative return to fundamental aspects of Bengali life and tradition. Reflecting on the collaborative ethos of the project, Alam shares, “My associate designer, Nanziba, and I began by discussing concepts, exploring Aarong’s extensive archives, and creating initial drawings. The final layout gradually took shape, becoming like a visual map of the story we wanted to tell.” This initial plan, drawn on paper, evolved through the extensive six-month creation process, engaging 250 artisans from the rural heartlands of Bangladesh. This undertaking underscores a profound spirit of collaboration, where each deliberate stitch contributes to a grander visual lexicon. Alam notes, “We started with a paper layout, but it developed with each contribution from the artisans and people who encountered it. They shared
their expert local crafting skills using Aarong’s textiles, such as Block Print, Tie-Dye, Screen Print, Wax Batik, etcetera, skillfully combining these techniques through the talented artisans of the Ayesha Abed Foundation.”
The artwork also invites contemplation on the trajectory of traditional crafts within a contemporary context. Alam offers a considered perspective, stating, “Both Preserving and Reinventing is necessary, I believe, we should preserve the original Nakshi Kantha origin as its traditional way and also let it evolve in a different channel of modernity in Fashion and lifestyle.” In its design and the carefully curated collection within, the new Aarong flagship store echoes this point. As Aarong steps confidently into this new era, this landmark in Dhanmondi stands as a powerful symbol of national pride and artistic resilience, promising to inspire a deeper appreciation for Bangladesh’s heritage for generations to come, both within its borders and on the global stage.