The concept of fine paper in Bangladesh was first introduced by Paper Studio, setting a new benchmark for premium and distinctive paper in the country. Today, Conqueror is not merely the name of a paper; it is a symbol of quality and reliability, recognised equally by the country’s graphic designers, pioneers of change, corporate leaders, and individuals with creative vision.

From high-quality corporate stationery to elegant wedding invitations, gift boxes, books, and event materials, Paper Studio has made the refined use of paper an integral part of communication materials in Bangladesh. Today, its client base is wide-ranging, from freelance photographers to national leaders, from boutique brands to premium institutions, all of whom place their trust in Paper Studio to transform their ideas and creativity into reality with care, thought, and craftsmanship.

Paper Studio’s journey began in 2007. At the very beginning of this journey, a historic milestone was achieved with the introduction of the world-renowned fine paper Conqueror in Bangladesh for the first time, and continuing this legacy of success, the German brand Gmund, enriched by 200 years of experience, was added in 2025. What began as the supply of paper gradually turned into a quiet revolution, one that changed how paper is seen, touched, and valued. From the beginning, their goal was clear: to establish fine paper not merely as a medium, but as a refined expression of artistry, craftsmanship, skill, and distinct individuality.

How it began

In 1998, Farzeen Khan Chowdhury, the current managing director of Paper Studio, was looking for a simple cream-coloured textured paper to print her wedding invitations. At that time, such paper was not easily available in Chattogram or Dhaka. Eventually, she found a paper close to her preference at Modern Stationery in New Market, Dhaka. Later, she stood at a printing press in Segunbagicha and printed the cards with a minimalist design in golden ink.

This experience later gave rise to the idea of doing something of her own. The opportunity to work with fine paper came a little later.

At one point, the English paper manufacturer Arjowiggins sent a swatch book of their papers to the family business, Graphics Limited. However, they did not have the time or opportunity to market the paper. So the proposal was passed on to Farzeen for consideration.

At that time, such a wide variety of fine or premium paper was almost unknown to designers in Bangladesh. She realised deeply that limitations in paper also limit creativity. So she decided to take the initiative, even though it was known that the number of customers for such paper would not be very high in the beginning. The papers were several times more expensive than conventional paper, and there was little familiarity with them.

The wedding card became the first introduction

From 2005, she began testing the market for Conqueror. Advertising agencies were the first target, as they are the ones who produce promotional materials for corporate institutions. Conqueror paper was taken to agencies such as Adcomm, Bitopi, and Asiatic. Although designers were impressed by the paper, since the final decision rested with corporate houses and production departments, it was not easy to secure work due to cost concerns.

At just such a time, a friend requested her to design a wedding card. The card, created with minimal design on Metal Ice Gold paper, received a huge response. Farzeen said, “In our country, weddings usually involve inviting a large number of people. We printed around a thousand cards. As a result, the card itself carried our work to many people. For the first time, we had such a sample in hand that attracted everyone.”

Using this card as a sample, when it was presented to corporate houses and advertising agencies, it began to produce results.

From a printing press to a self-sufficient institution

Farzeen never compromised when it came to quality. At one point, while printing another wedding invitation, a major mishap occurred — the ink did not dry and smudged. It was then that she decided that it would not be possible to continue without having their own printing facility. She borrowed a demo machine from Graphics Limited and hired a graphic designer. The designs were intentionally kept minimal so that the characteristics of the paper would stand out as the main feature.

Around this time, work began to come in from institutions such as Nokia, BRAC Bank, and City Bank. Finally, in June 2007, Paper Studio and Conqueror were officially launched in Bangladesh.

Fine paper in the hands of a new generation

Farzeen said, “2007 was a wonderful time. Investment in the service sector was increasing, local brands were expanding their marketing budgets, and international hotel chains such as Radisson Blu had begun operations, so it was a good time for work. The market for Conqueror was small but refined, so we undertook special initiatives for promotion.”

“We placed the paper in the hands of seven individuals from seven creative fields, including architects, photographers, artists, and journalists, and they expressed their creativity in their own ways on the paper. The group included artist Shishir Bhattacharjee, poet and journalist Sazzad Sharif, mask artist Saidul Haque Juise, architect Salauddin Ahmed, photographer Abir Abdullah, and architect Marina Tabassum. Later, an exhibition was organised at Bengal Art Gallery featuring their artworks,” he added.

In 2010, renowned Japanese social artist Hiromi Inayoshi organized the CCID (Conqueror Corporate Identity Design) Contest on behalf of Paper Studio. It was a major event, and the preparation was equally extensive. Posters were put up in the fine arts and architecture departments of universities, and the contest was promoted through various channels.

More than a thousand participants from across the country took part and designed logos on Conqueror paper. The judges included Geeti Ara Safiya Chowdhury from Adcomm, architect Bashirul Haq, Luva Nahid Chowdhury from Bengal Foundation, and Tamara Abed from BRAC Enterprises. The chief judge was Nobel Laureate Professor Dr. Muhammad Yunus. Through this event, Conqueror paper gained wide recognition among young and emerging designers in the country. Many participants in the competition later went on to become established names in their respective fields.

“We felt both satisfaction and success in being able to introduce fine paper to the new generation. They learned what fine paper is, what printing material is, and how much paper can influence creativity,” Chowdhury remarked.

“By 2010, we had, in a sense, become a self-sufficient institution. We had our own printing press, a design team, and of course the paper itself. By then, Paper Studio had become unique in customised printing solutions, along with the globally renowned Conqueror paper. Conqueror is recognised as the gold standard of paper across Europe, America, Australia, and around the world,” he continued.

After 2010, the recognition of both Paper Studio and Conqueror continued to grow. In 2015, Paper Studio organised the CCID Contest for the second time. By then, the world was rapidly becoming digital. Various Chinese papers had entered the market, creating competition. In that context, the second CCID Contest was significant. The theme of that year’s competition was “Timeless Bengal”. The entire contest was conducted by the visionary and creative designer Khaled Mahmud. At the same time, a distinguished jury panel was formed, including renowned architect Salauddin Ahmed, professional graphic designers Laura Bonopaj and Yusuf Hasan, corporate personality Iftekhar A. Khan, and the creative and intellectual thinker Ali Zaker.

Christopher Balarès, Luxury Communication Expert of Arjowiggins Creative Papers, attended the event as a guest. During the two-day programme, his schedule was highly active and productive. He participated in interactive seminars with students, creative directors’ sessions, decision-makers’ sessions, and brand marketing sessions, where he shared practical experience on creative paper, luxury branding, and communication strategy.

A hundred kinds of paper

Conqueror offers a wide range of papers. Among them, Conqueror CX22 Ultra Smooth paper is suitable for corporate stationery, luxury brochures, premium invitations, and professional reports. It is environmentally friendly and fully renewable. The textured Conqueror Laid paper is ideal for formal stationery and elegant branding, and is available in Brilliant White and High White Wove shades. The soft, non-glossy (matte) Conqueror Wove paper is available in Brilliant White, High White, and Cream, and is well suited for professional reports and personal stationery.

Curious Metallics paper is available in a wide range of colours, including Metal Ice Gold, Metal White Gold, Metal Blue Steel, and Metal Gold Leaf. This paper is ideal for fancy invitations and luxurious packaging. One of Conqueror’s special papers is Curious Matter, which has a textured surface and is available in Goya White, making it suitable for sophisticated brand identity work. There is also Curious Skin, available in Skin Black and Skin Dark Blue, which is particularly suitable for packaging. Other ranges include Olin Colour, Olin Design, Rives, and Tactile. Tactile is available in Extra White and Natural White, and is suitable for art books, statement stationery, and invitation cards. These papers are available in various thicknesses, including 100, 120, 160, 250, and 300 GSM.

Conqueror also offers Goatskin Parchment, which is essentially an archival paper. This acid-free paper is guaranteed to last for 500 years and is ideal for certificates and official documents.

The price of Conqueror paper varies depending on size, type, and thickness. For example, 100 GSM Laid Brilliant White with WMK texture (17.5 × 25 inches) costs 50 taka. 250 GSM Laid High White texture (17.5 × 25 inches) costs 135 taka. 220 GSM Laid Vellum texture (28.5 × 40 inches) costs 270 taka. 90 GSM Wove High White WMK Smooth (17 × 24 inches) costs 35 taka. And 300 GSM Wove Cream Smooth (28.5 × 40 inches) costs 400 taka.

A new chapter in book publishing

In 2020, Paper Studio faced a major setback during the Covid-19 pandemic. Social events had come to a halt. But at that very time, another door opened — book printing. A new chapter began through producing publications for UNDP.

Farzeen Khan Chowdhury said, “In 2007, we did not imagine that a day would come when Paper Studio would be able to promote itself through work printed on our own paper. At that time, we thought we would bring catalogues and souvenirs printed abroad and continue that way. Now the books speak for us. Almost all designers know us. The architect community has shown interest in our paper from the very beginning. Now this has also created a place of fulfillment for us.”

Books published by Paper Studio

“To bring a creative project to life, the right paper, precise printing, and technical expertise are essential. With the finest materials, we help turn your vision into reality.” With this principle in mind, the list of books published by Paper Studio is not long, but it is impressive. Among the books are Celebrating the Life and Legacy of Sir Fazle Hasan Abed KCMG (1936–2019), based on the life and work of BRAC founder Sir Fazle Hasan Abed; Bangladesh Press Photo Contest 2022 and 2023; Buddhist Heritage of Bangladesh; and Unfolding the Past: Conservation of Boro Sardar Bari. In addition, to mark the 101st birth anniversary of architect Mazharul Islam, Bengal Institute published Mazharul Islam: A Folio of Built Works on Conqueror Olin 120 gsm Natural White paper.

Beyond books

Paper Studio also produces various types of everyday and special-occasion stationery that give individuals or institutions a distinct and refined identity. These include letterheads, business cards, envelopes, carrying bags, presentation folders, and notebooks. To make special occasions memorable, they also produce birthday invitations, Eid greeting cards, and anniversary cards. Paper Studio also prepares Eidi envelopes for giving Eid gifts.

Designer Moloy Chandan Saha has been familiar with Paper Studio’s paper from the very beginning. He said, “If the medium of expression matches the design, the appeal increases. Conqueror papers have their own beauty, which adds a new dimension to design. Not all Paper Studio papers are only for printing; each paper has its own importance. Some are better for packaging, some for wedding cards, and some for greeting cards. For this reason, designers now have more freedom than before.”

In this digital age, there is sometimes a fear that the world may become paperless. However, what can be achieved on paper is difficult to replicate through mechanical means, so it can be hoped that the appeal of paper will never fade. And if the paper itself has something to say, then the affection for it only continues to grow, as can be seen in the case of Paper Studio’s paper.