LSA fashion nominations at a glance

The Lux Style Awards fashion nominations landmark 2009’s big achievers with a couple of glaring omissions.

Dawn Images, July 18, 2010

Achievement in Fashion Design – Pret
Deepak Perwani, Kamiar Rokni, Shamoon at Khaadi Khaas, Sara Shahid at Sublime and Sonya Battla

Deepak Perwani is a cinch to win this year

Pret has always been fashion’s most exciting category, a fact driven by the expansion of ready to wear labels in the past decade. When the LSAs began there were hardly any contenders…and then came the boom. Deepak’s foray into women’s clothing came several years ago, but he ‘arrived’ last year with the impressive debut in Milan. It was an eventful year as Kamiar Rokni’s Jalwana Collection was a hit and with it, he and his new business partner Tia Noon found solid footing. Sara Shahid continued to be a sound source of prêt. Shamoon drove Khaadi into fashionable avenues with Khaadi Khaas. And Sonya Battla, with her consistent stream of high fashion, continued to prove that she has a handle on design like no other.
Prediction: If this category were to be judged by the merits of design excellence alone, then Sonya Battla would win hands down. But prêt, one feels, must also be judged for its added value and accessibility therefore Deepak Perwani should win. His Flights of Fancy Collection wowed Milan and Karachi, it was well constructed, versatile and widely available.

Achievement in Fashion Design – Luxury Pret
Iman Ahmed at Body Focus, Nomi Ansari, Rizwan Beyg, Sana Safinaz and Shamaeel Ansari
The LSA fashion jury has done away with the category of Couture this year, replacing it with Luxury Pret, essentially an antithesis of Bridal Couture. Done basically to eliminate bridals from fashion (as not many designers create couture in the true sense of the word), one feels that a Bridal Couture category should have been established simultaneously. Almost all Pakistani designers create bridals and their businesses are driven by weddings more than anything else. By slicing that segment out, the LSAs have alienated revivalists who have contributed majorly in keeping Pakistan’s traditions alive. Bridal Couture should be pushed towards evolution not elimination.
That said, most designers in Pakistan do design couture, albeit a localized version and what’s wrong with that? In fact, Kamiar Rokni’s Jalwana Collection, for which he has been nominated in the ready to wear category, mostly constituted made to order pieces. That is as much couture as is Nomi Ansari’s black collection and Rizwan Beyg’s white collection.
Prediction: While Iman is perfectionist par excellence, one feels Sana Safinaz will take the trophy home again as they continue to turn the concept of luxury fashion around on a scale that is imperative to the word prêt.

Munib Nawaz, anyone?

Best Menswear Designer
Amir Adnan, Fahad Hussayn, Hassan Sheheryar Yasin, Ismail Farid and Kuki Concepts
The fashion jury has nudged out two of the most prominent names in menswear: Deepak Perwani and Munib Nawaz. It’s shocking that Munib, with his Miami Fashion Week showing (and award) and debut solo show has not made it to the final list. Surely both Munib and Deepak consistently contribute more to menswear than Fahad and Kuki? In an attempt to acknowledge new talent the jury has overlooked experience and excellence.
Prediction: While Amir Adnan continues to enjoy the biggest menswear label in Pakistan, his design aesthetic has given way to his stronger business acumen. Out of the given list the most deserving winner is Ismail Farid. His military collection bore testament to his cutting edge vision and certainly was trendsetting.

Best Hair and Make up Artist
Altaf at Nabila, Khawar Riaz, Nighat at Depilex, Rizwana Khan and Saba at Sabs
There aren’t many credible stylists in Pakistan, certainly not many who have an understanding of the creative world that is fashion. Khawar Riaz works wonders for men but there is (homo-erotic) monotony in his work now. Rizwana Khan still does not register on the fashion radar while Nighat and Saba barely make it beyond beauty parlour operations. One feels that Saba’s debut with fashion week gave her a starting point but the vision was never hers.
Prediction: Judging by the sheer volume and precision of his work, Altaf would make it to the finish line had he been more prominent in 2009. In the given circumstances, however, the competition should be between him and Khawar, who (despite being monotonous) is a visionary at the end of the day.

Models of the Year
Female: Aamina Sheikh, Cybil Chowdhry, Fayeza Ansari, Mehreen Syed, Rabia Butt.
Male: Abdullah, Arsalaan, Iffi Zafar, Rohail Peerzada
Models should be judged on print and catwalk quality both as the marvels of Photoshop often manage to camouflage their bare reality. They also need to have versatility, which often comes with working with more than one photographer. Amongst the ladies Aamina cannot catwalk and while Cybil and Mehreen are fabulous on the ramp their visuals appear repetitive. Shocking omission: Neha Ahmad.
Prediction: It’s going to be a difficult match between Rabia Butt and Fayeza Ansari. While Rabia is super prolific, managing print and ramp with equal ease, Fayeza has an edge on the catwalk and an attitude to boot. Amongst the male models it is high time Iffi Zafar won. Standing tall, lean and signed on by international modeling agencies, he is Pakistan’s best male model.

Best Emerging Talent
Ayaan Ali (Model), Ayaz Anis (Photographer), Feeha Jamshed (Designer), M. Mubarak (Model), Raana Khan (Hair and Make-up)

Ayaz Anis has been consistent and strong throughout the year.

A confusing category for its mix, this one’s a three-way toss between Ayaan, Ayaz and Feeha. Ayaan and Ayaz have proven their commitment to their professions and while Feeha is easily the most talented, the inconsistency and unavailability of her collections brings down what her designs build up.
Prediction: Ayaz Anis deserves this award for raising the conceptual bar and steadily making his way to becoming the most sought-after, professional new photographer in Pakistan.

Best Fashion Photographer
Fayyaz Ahmed, Guddu Shaani, Khawar Riaz, Maram Abroo, Rizwan ul Haq
Some of the best fashion photographers in the world use Photoshop to tidy up their pictures (so airbrushing should not be an issue) and the best should be judged for their conceptualization, their control on light and shade and of course, their technical expertise to execute a designer’s vision. Again, a versatile portfolio helps.
Prediction: With an art background and professional infrastructure that influences the sheer diversity and volume of what they do, Guddu Shaani should win this year. Fayyaz and Rizwan follow close, as they continue to experiment with the lens.

Best Retail Brand
Crossroads, FNK Asia, Generation, Khaadi, Stoneage
Defined as a brand that falls short of being high-end, ‘retail’ is more high street and includes the more massively popular fashion brands in Pakistan. They may have design heads but they are products of larger design departments and aim for wider availability as opposed to exclusivity. They fall into trends rather than set them. A frequent example given by the jury is that Marc Jacobs, for example, is a high-end design label while Zara or Mango is a retail brand.
Crossroads had a good chance of winning in 2007 but has deteriorated ever since. Khaadi and Generation continue to go strong (despite compromising on design every now and then) while Stoneage, even with an exclusive HSY range, did not manage to cut the mustard last year.
Prediction: For all its strengths, FnkAsia should easily win. It is the most popular label around and caters to a diverse mass market all over the country as well as Dubai and now California. Design turnover is frequent and though an OTT on embellishment is a fatal flaw, FnkAsia’s pros make up for this one weakness.

To be or not to be?

Will the annual Lux Style Awards revive the ceremonial hoopla that has carried them through nine years?

Dawn Images, June 27, 2010

Shehzad Roy works up some magic with Reshma

If the Lux Style Awards continue, they will be celebrating their tenth anniversary next year. But it’s a very big ‘if’ considering they are rapidly losing steam. A far cry from rejoicing a decade, the fear is that if the award show isn’t revived to its original glory this year, as is the premonition, then it looks as if it’s been taken to heights only to be pushed off to a certain death.

“Lux stands committed to promoting the fashion and art industry in the country,” Farheen Salman (Brands Director, Skin Cleansing and Care) spoke to Dawn Images on Sunday. “The LSAs are the Pakistani Oscars and we are currently involved in the voting process for the 2009 nominations. Announcement for the event will be made by the brand after the voting process ends in August. As planning for the event is still ongoing, the scale and time can not be confirmed.”

That has been the brand’s official stance for two years but it really says nothing: it commits to nothing while denying nothing. One knows that the preliminary rounds of jury meetings have been conducted and (in the absence of films), television and music nominations have been announced while fashion nominations should be released anytime. But truth be told, this exercise seems futile in the absence of a befitting finale. And if that befitting ceremony does not take place this year (ideally with necessary modifications) then the LSAs will be as good as over. The organizers are silent on this year’s plans but they insist that Unilever will continue honouring excellence. The way one sees it, honouring excellence would have to come after they honour their commitment to the industry.

That commitment, let me refresh the memory, began in 2002 when this multinational corporation that produces and markets a soap, hinged on that soap and lathered it up to a frothy event. The event awarded achievers (chosen by a select board of governors) in different helms of the liberal arts and declared LSA winners in a bedazzling, star-studded ceremony. It braved the harsh winds of controversy as well as all sorts of national turbulence and with the help of industry and media support, managed to grow in eight years.

Normally one wouldn’t be surprised at the LSA fade-away. This is Pakistan, after all, and things open and shut at the blink of an eyelid. It happens all the time in the name of instability. But this particular example strikes one as betrayal rather than a consequential fall-out of the times we live in. Corporations that use star power as marketing gimmickry must realize the responsibility they have towards nurturing that star power. Unilever has used the LSA platform to push an illusion of sincerity for local artistes but where is that commitment now, when it is most needed?

Now is when Pakistani television is regaining its original glory, now is when fashion (thanks to fashion weeks) is making headlines all over the world. The music industry is as strong as ever and with several strong film projects in the pipeline, now is when one actually sees hope for a cinema revival. Now is when the LSAs would have made maximum sense. Unfortunately now is when they appear to be packing it up.

Is it financial crunch? It could be, as the times are bad, but then one sees Bollywood stars on local billboards and wonders. Katrina Kaif must have come to Karachi at a high price, a price that was justified by sale spikes. The LSAs, by not managing to arouse as much interest (read revenue), may have been nothing but a well-rounded loss for the organization. Have people been right in criticizing them for working a marketing ploy rather than a community service. One really has been pushed to wonder.

The LSAs really do need to restructure. Let them be the Golden Globes of Pakistan rather than the Oscars; let them hinge on a formal ceremony and black tie dinner instead of a flawed song and dance show. If the red carpet is sharp, the ceremony is glamorous and if nominees and winners are given due respect then it is cinch to be successful. But nominees, winners and even former winners must be honoured.

One feels for the liberal arts in Pakistan; music, film, fashion and television are mediums that suffer the roughest edge of everything from Talibanization to economic downslide. They are the first to get hit. And so artistes struggling for survival in this country deserve the spotlight more than anything else. And inviting just a handful of them to a picture session does not qualify as ‘honouring’ them at all, let us not fool ourselves into thinking so.
In a nutshell, the LSAs need to be restructured and revived simply because one needs to see Pakistan’s incredible talent in the spotlight. Just one night where they can get together and rejoice their achievements instead of mourning their losses. And if the LSAs cannot be revived then one suggests that the baton be passed on to someone else. The Oscars of Pakistan may have failed, but another interested party may be able to resurrect them as the Golden Globes. There are other financially strong contenders that would love to pick up from where the LSAs left. The show must go on, in one way or another.

LSA timeline

The LSAs are a flight that took off in 2002, vowing to honour excellence in various artistic fields. 2003 took them behind closed doors in respect of the Iraq war. The ceremony that year was small but beautifully planned. 2004 brought the brouhaha back to Karachi and 2005 flew it out to Dubai in search of diversity. That came in the form of Indian content as Priyanka Chopra took to stage, Indian dancers provided back up and Indian designer Neeta Lulla designed stage costumes. Many people felt the event was grand but overshadowed Pakistani talent thus killing the purpose.

The event returned to Karachi in 2006 and braved its way through Talibanisation, political turmoil and instability in the country. Considering the ground reality of insecurity, the organizers invested a lot in flying approximately 500 people from the industry out to Malaysia, where the awards celebrated their most grand scale yet.
That was 2007 and (though it would have been next to impossible to follow that act the next year) no one was prepared for the brush-off they received in 2008. Canceling plans of holding the event in Lahore (due to unexpected spates of violence in the cultural city), the LSAs were tucked into a much smaller venue, in a much smaller show in Karachi. They were reduced even further in 2009, assembling only winners for a press-meet slash photo-session at a studio in Korangi. An event that had started with a bang was reduced to sorry whimper. What now?

Fashion turns over a new leaf but it could be greener

(Dawn Images, June 13, 2010)

The Labels’ gala lined up six designers to raise funds for DIL though one wishes it had raised the bar for fashion too.

Maheen Karim has mastered luxury pret

It was an evening that held Karachi hostage to the cyclone brewing in the deep blue depths of the Arabian Sea, threatening to arrive with an entourage of torrential rains, thunder and lightening. There were ‘rain checks’ that survived the pun along with certain fashion models from Lahore who backed out of traveling south in fear of the impending Phet. Situated bang on the banks of the sea, the Golf Club played host to the DIL-Labels’ Benefit and for many, being in the eye of the storm was a risk they decided not to take. Luckily philanthropy got the better of others. The rains never came that night and while celebrating Labels’ first in-house fashion show, DIL (Developments in Literacy) managed to raise over two million rupees to build schools for underprivileged children. If venturing out to be by the sea was a risk, then it was a risk well worth it.

The evening offered both altruistic and aesthetic manna. For Zahir Rahimtoola it was all about consolidating the success of almost 15 years in the business of fashion. His store – that has been launch pad for over 24 designers – opened doors back in 1996 but this was the first time it stepped into the razzle dazzle of a fashion show. And with this step rolled out many firsts.
It was the first time DIL held a gala of this level in Pakistan. The United States based, expatriate operated organization has been working since 1997, raising funds for the development of schools in Pakistan. It was the first time Pivot Point stepped up from salon operations to fashion show styling. The makeup was far from perfect but it was a professional start. The capable Shakeel Jaffer was brought in to create the ambience of a fashion show this big. And as the sponsors kept reminding us, the first time an international airline collaborated with fashion and music in Pakistan: Strings were signed up as Etihad Airline’s global ambassadors. One saw some important synergies play out.
It was just another fashion fundraiser but the ambience likened it to the posh Costume Institute Gala held annually in New York. Tall planters stood adorned with plex-glass diamonds, very Spring/Summer Prada. And the ascending stairs to the Convention Centre served as the perfect red carpet, well embellished with high heels and high-end fashion. One saw the latest designs by Sana Safinaz and Shamaeel sweep in with aplomb. It was a hot evening but as the breeze blew in gently from the sea, it set off an ambience that could be admired from every angle.
The evening was planned around a fashion show featuring six designers and Maheen Karim, Labels’ biggest success story, was its undisputed star. Given that she has not shown for over a year coupled with the fact that she is hugely talented, cut out an impressive and fresh collection. It was pure luxury prêt, well draped and embellished with serpent motifs that are all the rage internationally.

Ayesha F Hashwani caters to high society with high end fashion

Following in Karim’s footsteps was Ayesha F Hashwani, another designer who has found a niche in luxury prêt. The fashion segment belonged to both these girls while Labels’ favourite new name, Khadijah Shah, struggled to stay at par. One has seen Shah show at fashion week and while her formal and bridal wear certainly is sharp enough to catch the eye, there is something that almost always goes wrong. Whether it is a huge round mirror that kills a perfectly decent outfit or an OTT on crochet that takes the delicacy away from a cool cotton shirt, this young designer tends to go haywire at some point. Shah’s choice of prints and colours was sound but there were no statements. She carries her personal style very well and therefore one senses a promise of better things to come.
As with everything promising, the evening came hand in hand with disappointments, namely Faiza Samee, Nomi Ansari and to some extent, HSY. On repeat-play for the past six months, these designers brought tedium to the event. No one is questioning their capabilities – they have proven their worth at fashion weeks – but to see their much seen trousseau clothing once again was arduous. From fashion weeks, corporate shows, shop openings, anniversary shows and foreign shows, how much exposure do these particular designers need anyway? It was overexposure.
One understood Rahimtoola’s angle of pitching high profile names in his very first show but having seen these clothes ad nauseum, their fashion segments took away from the caliber of the show at large.
If fashion is to be intertwined with fundraising then it needs to be done intelligently. It would have made for a more impressive show had the organizer given his younger designers a platform. Popular VJs Anoushey Ashraf and Ayesha Omar, who have been associated by way of advertising, spoke to Images about their own brand of pop clothing for the masses, soon to launch at the retail store. Labels has always been about promoting new talent; this was the time to feel that pulse.
This show came hot on the heels of the successful launch at Studio 8, and a name unknown to Pakistan but retailing successfully in Dubai is Zahra Saeed. Pakistan born Saeed has been designing and retailing her brand of smart-casual ready to wear in the USA, where she now resides. One has seen her simple separates and cannot wait for them to arrive at Labels in Karachi, which they will soon. This would have been an ideal platform to make her debut.
Zahir Raimtoola has the designers and should not have played it safe. It’s the validity of today that pushes an industry into tomorrow. We cannot move forward if we keep dwelling in the past, clinging to safety nets that come with time tested formulas. One more example of that were Strings lip-syncing to their old hit ‘Dhaani’. Surely a recent pop track would have been more desirable. As for fashion, Rahimtoola has the names and numbers to create the next generation of fashion power-houses. If an event this strong is to be hosted annually, and one hopes it does, then fresh fashion endorsed by buzzing pop music would make for brilliant show content.
“It is our endeavour to promote Brand Pakistan as we have developed great synergies to help support this process,” he spoke to Images. “Our first major showing will be in Abu Dhabi later in the year. It is too early to tell if this will pan out to be an annual event or more of a strategic time based event but we will surely continue to expand on this process.”
The process certainly was long overdue and awaited but better late than ever. By opening a branch in Dubai and then following it with the glamour of a fashion show, Labels has consolidated its position in the fashion retail market. One hopes to see the process streamline and advance to a more purposeful future.

Elan is decent but Khadijah Shah needs to make some statements to be wow!

Photography by Faisal Farooqui at Dragonfly

Fashion for fundraising in Pakistan

Karachi has quite an impressive history of charity balls, a more recent phenomenon being their relation with fashion shows. But fundraisers built around a fashion centre-stage, the Carnival de Couture included, were valid five years ago when fashion shows were scarce, fashion weeks non existent and designers needed a platform to show. In a land where women showing off the new season’s fashions was not the norm it all had novelty value. Now with so many fashion weeks in the picture – three a season – additional showings by the same designers have no validity. Organizers argue that their events stand independent from fashion weeks but the truth is that fashion still rotates in a small media and social circus and these acts have been seen one time too many. Unless they bring something new, the only relevance they have is raising funds for a good cause. They certainly add nothing to fashion and if anything, do a disservice to the designer.

Fundraising with fashion unraveled with the LUX Carnival de Couture in 2003, an event chaired by Zeba Husain to benefit the Teachers’ Resource Centre. Skeptics comment that the high cost of holding the event (that brought in expensive Bollywood star attractions from India) always ate into the funds raised. Technically the money raised from the sale of tables was always supposed to go to the charity but the effort to bring in the stars and put them up almost always resulted in reduced amounts.

What the CDC achieved was a great service to fashion; those were times when fashion desperately needed a platform this splendid and high profile. But then perhaps CDC continued to benefit fashion more than it did the TRC. It eventually led to the opening of the Ensemble boutiques in Karachi and Lahore, spaces regularly enjoyed by fashion loving high society women.

As for the money raised, Zeba Husain says, “As far as the (recent) Lahore show is concerned, the accounts are still in process. As far as the previous TRC shows go, TRC has an annual audit of accounts, which are published every year. Last year’s audit report will be out soon and according to the one before that, TRC made about 22 lacs.”

Austerity made its presence felt strongly at DIL-Label ‘s fundraiser, the cost of which was subsidized and completely covered by the airline sponsor Etihad, informed the organizer. As for the money raised, “I really don’t have a figure as DIL was handling the sale of tickets,” says Zahir Rahimtoola. “But my guesstimate would be upwards of two million rupees, excluding donations at the show.”

Whether it’s fashion for fundraising or fundraising for fashion, one hopes that Zeba Husain and Zahir Rahimtoola will continue supporting the right cause. – AHI

For all its violence, Rajneeti lacks gut

(Dawn Images, June 13, 2010)

Rajneeti is a film that mirrors the gruesome political machinery of urban India, something that protagonist Samar Pratap’s American girlfriend is appalled to get a glance of when she comes after him. Here in Pakistan, however, one easily cozies up to the patriarchal and dynastical politics of the region and that ‘rajneeti’ equates to power, intrigue, conspiracy, violence, corruption and most things undesirable. That the chair of a political party is likened to a ‘gaddi’, inherited by the elder son over an experienced party member, is something we are a little too familiar with.

Produced and directed by Prakash Jha, Rajneeti is a film that boasts a mature ensemble cast in a riveting theme, one that Jha repetitively compares to the Mahabaratha. But it’s as much Godfather as Jha gets lost in an irrepressible urge to construct nothing more than a feature film. Politics is merely used as a ploy to play out every formula in the Bollywood book.
Leftist politician/activist Bhaskar Sanyal (Naseeruddin Shah) has one night of passion (in the rain, mind you) with his rival politician’s daughter and his guilt is so extreme that he gives up politics and disappears into self-exile. Nine months later, in an equally stormy night, Bharti gives birth to his son who is whisked away in the dark of the night. All that within the first ten minutes of the film. Thirty years and seconds later, that son grows up to be a leftist firebrand, but of course. And that fact remains unknown until a, surprise surprise, locket is brought forth as proof.
Meanwhile Bharti is of course married off to the first most suitable boy, one whose family will bring additional power to the party. They have two sons: Prithviraj Pratap (Arjun Rampal) and Samar Pratap (Ranbir Kapoor) who battle out the family’s political rivalries in a highly bloody manner. Their biggest political opponent is their uncle, Veerendra Pratap (Manoj Bajpal) who, in the absence of family/party support, forms a breakaway party and an alliance with Sooraj Kumar (Ajay Devgun) who is actually Bharti’s estranged son. The other Pratap boys, after their father is gunned down, are guided by their paternal uncle, Brij Gopal (Nana Patekar). That is the crux of the three-hour film.
The first half of the film is engrossing but it certainly doesn’t qualify for the magnum opus status that its associated controversies are bringing it. India’s censor board, dominated by Congress supporters, have objected to certain allusions to the Congress, though it must be said that other than Katrina Kaif’s character there are none. Kaif has been vocal that she modeled her role around Sonia and Priyanka Gandhi and she is shown in similar avatars but that’s all. This film, also being compared to Spanish writer Javier Moro’s book The Red Sari (also banned in India), could be as much Peoples Party as it is Congress. It’s the same old hackneyed story that Jha so loves to explore and lacks finesse as well as discipline. The story is all over the place, riddled with loopholes, bullet wounds, shoot-outs and bomb blasts. It is bloodshed galore.
Rajneeti’s biggest flaw is that it skims the surface without providing any insight to reason. It is skin deep and doesn’t explain, for instance, why an influential politician’s daughter is blindly following her dad’s opponent, especially since her passion dies as quickly as it emerges. The female lead Indu Pratap (Katrina Kaif) again is used for romantic moments in the film but one doesn’t understand where she’s coming from. Her love for Samar and then Prithvi is unexplained. From a woman’s point of view, the film is extremely regressive and uses females as characters who are promiscuous and either sleep around to get ahead in the political game, or are married off to bring either power or money as dowry. They have no backbone, which could be one reason why Sharmila Tagore, Chairperson of the Indian Censor board, has taken offence.
That said, Kaif is effective in her cotton saris and the other big surprise is Arjun Rampal who is angry, violent and yet desirable in his role. Nana Patekar and Manoj Bajpal prove their worth as actors while Ajay Devgun is completely washed out and overshadowed. Naseeruddin Shah, despite being on the film’s posters, cannot be seen after the first five minutes and his role is unworthy of him.
Rajneeti makes it big for being controversial rather than being great. That, and the fact that with thoughtless films like House Full, Badmaash Company and I hate LUV Stories over-ruling Bollywood these days, anything with grey matter is a welcome change. While Kites flew over the masses head, one looks forward to topping Rajneeti up with Mani Ratnam’s Raavan.

Kiran Aman announces Sonya Battla as her brand ambassador

(Dawn Images, June 6 2010)

Sonya Battla and Kiran Aman at a photo installation by Izdeyar Setna

Not all collaborations are about branching out and touching the skies; some are simply about opening up and sparkling under the sunlight. Such was the case when Kiran Aman, jeweler and co-founder of Still Water Publishing, opened her exclusive boutique in Karachi and announced fashion designer Sonya Battla as her brand ambassador. It was an elegant affair, set against artistic installations crafted out of wooden pencils. The pencils were holding Izdeyar Setna’s photography of Kiran’s work over the years in place and provided a yin yang impact against the dazzle of fine diamonds. Needless to say, both Kiran and Sonya were dressed in the Sonya Battla label, accessorized by pieces from Kiran’s new ‘Time Scripts Man. Man Scripts Time’ collection.

Jewelry designers have historically been publicity shy individuals; the renowned American jeweler Harry Winston avoided ever being photographed and in Pakistan, many like Sherezad Rahimtoola, are content in staying in the background despite being popular within a niche market. Kiran is no exception and has chosen an equally creative yet quiet face for her brand. Complimenting each other in many ways, this collaboration makes sense and one is sure it will be effective in achieving a dignified purpose.

That said, Faisal Kapadia of Strings was also present at Aman’s launch and he commented, “I love her work. I myself am a loyal customer and every woman should experience Kiran’s jewellery.”

One sees a more popular collaboration in the making here; let’s hope it picks up to the advantage of the industry at large.

Strike a deal, there’s nothing to it!

Fashion has historically collaborated with popular artistes, striking deals that have benefitted both, but in Pakistan this equation is a little too complicated for credit.

(Dawn Images, June 6 2010)

We all love to talk about fashion but in reality, fashion exists in an elitist bubble that not many of us are privy to, especially not in Pakistan where the fashionable middle class is stripped to a minority. Fashion designers are still catering largely to the slim margin of elite society that can afford to splurge thousands on clothes. And there are only a few designers who are taking the leap of faith and jumping out of the limited pool into bigger, unknown terrain. These designers are the ones seeking a more credible identity. It would help if they had star power to ride up on but unfortunately there aren’t many popular icons around.

Lady Gaga wears McQueen's futuristic collection on the cover of her album The Fame Monster

Fashion designers all over the world have historically collaborated with pop artistes, be they musicians or actors, for easy recognition. Vivienne Westwood is remembered by many as the first designer who commercialized her designs by association with London’s underground music scene. She created ‘anti-fashion’ punk styles for the Sex Pistols, Bow Wow Wow and Adam Ant back in the early seventies. It was a relationship that benefitted both designer and pop star and eventually led to further associations like the infamous Madonna and Jean Paul Gaultier partnership in the nineties. Gaultier met Madonna when he was launching his cheaper, Junior Gaultier line for the youth and she became his ideal poster girl. When Madonna wore his conical corset on her Blond Ambition Tour she made headlines for the fashion statement while Gaultier got popular exposure like never before. International fashion’s favourite new phenomenon is Lady Gaga, well known for her brand of music as much as her unique sense of style. And she has endorsed like-minded designers like the quirky McQueen as well as the conservative Giorgio Armani. These are matches made in heaven.

As fashion gradually spreads its wings in Pakistan, one looks and hopes for similar catalysts but much to fashion’s disadvantage, there aren’t many when you go looking. Forget fashion, a soap that constructs campaigns around beautiful film stars has run out of icons (locally) to project as its new face of the year. Having used everyone from Babra, Reema and Meera in previous campaigns Lux has put up Katrina Kaif billboards, much to the disdain of locals. What is the alternative? In the absence of a lucrative film industry, there are no stars big enough to bank on.

It’s not like we have no stars at all. But strangely, our celebrities are on a trip of their own. Pakistan’s first pop icon Junaid Jamshed went down the religious route and started his own label. Atif Aslam chooses to wear only his brother Shahbaz Aslam’s clothes despite the fact that the older Aslam’s label never got big enough to cater to Atif’s mass following. Zeb and Haniya endorse the popular Ego brand in a smart marketing move but Hadiqa Kiyani has never really stepped up for anyone in a calculated campaign though she did make catwalk appearances for her friends Asifa & Nabeel and Huma Adnan (FnkAsia) at fashion weeks. Our other favourite celebrities, the cricketers for instance, are hardly style savvy. One cannot imagine Kamran Akmal, Mohammad Amir or even Shaoib Akhter model high-end or even high street fashion. Even Shahid Afridi is passable at best, a fact ostensible when comparing his current ads to Imran Khan’s advertisements of the eighties and nineties.

What’s happening in the absence of stylish stars is almost incestuous. The fashion industry is looking inward, labeling photographers, stylists, event managers, even designers as celebrities. It’s killing the purpose of branching out to a bigger market while creating a false illusion of fame for so many. The Ponds billboards are the best example; they feature Sana Safinaz, Tapu Javeri, HSY and Frieha Altaf as brand ambassadors. Meanwhile, the real ‘stars’ are looking at fashion as a next best money making option. Humayun Saeed, Aijazz Aslam, Shahid Afridi all have (or have had) boutiques of their own and even Hadiqa Kiyani is dabbling in styling on the side.

Out of the few designers who have managed to squeeze some star power into fashion are Deepak Perwani, who has done complete campaigns (and not just random shoots) with Junoon and Ali Azmat and Munib Nawaz who has endorsed almost all popular musicians. Actor and VJ Mahira Hafeez Khan is affiliated with Teejays, a collaboration that has made most sense for the popular appeal at both ends. But beyond these names, fashion’s marketing strategy has been lukewarm, inducing nothing more than a front page visual for the designer and perhaps a pat of publicity for the designer. It has hardly ever spiked sales or interest.

In fashion, the problem lies in the lack of star power as well as a lack of affordable product. This candle is burning from both ends. There are too few designers catering to the masses and in return, even fewer popular stars that come with even an ounce of style. This landscape is very arid.

True icons usually emerge from films and the film-fashion relationship has existed all over the world. In the west it has been subtle, a popular medium gently nudging a label into the limelight. We saw it with Audrey Hepburn popularizing Givenchy (Breakfast at Tiffany’s), Nicole Kidman showing a red carpet association with Chanel, Sarah Jessica Parker breathing new life into Manolo Blahnik shoes and so forth.

India has taken it to another level altogether, making Bollywood the lifeline on which fashion thrives. Though Indian fashion is maturing with India’s huge middle class, it is designers like Manish Malhotra and Rocky S (who design wardrobes for films) that enjoy nationwide fame. Sabyasachi Mukherjee may have made it globally big when he showed at New York Fashion Week in 2006 but he had already won the heart of the Indian market when he designed Rani Mukherjee’s clothes for Sanjay Leela Bhansali’s Black in 2005. It’s an equation that would have worked wonders for Pakistan, only there is no cine-blitz to rely on.

Our heir apparent is Shaan. He did recently make a celebrity appearance in a Carnival de Couture fashion show, but as he explained in an exclusive conversation with Images, “I wanted to support our designer because the platform also presents Indian designers who are always supported by their stars. Our crowds always support their stars but I wanted to prove a point that even if you don’t support us, we will work for a higher cause, which is Pakistan. The charity element was also there and I donated whatever I would normally charge to the Teachers’ Resource Centre.”

Other than Shaan we have Fawad Afzal Khan, made famous by rock band EP and more so by Khuda Kay Liye. There hasn’t been much to propel his fame post KKL though advertisers are milking him for all he’s worth. His association with fashion has been negligible. One also looks forward to upcoming projects that aim to revive the film industry. Once Juggun Kazim appears in all the films she has signed up for, she will be a bigger star. As will Ali Zafar, who will be making it much bigger once Tere Bin Laden releases worldwide. The same applies to Mahirah Khan, who is appearing alongside Atif Aslam in Shoaib Mansoor’s next film Bol. These are all stylish, savvy stars and should be harnessed and tied up in fashion collaborations once they hit the limelight!

Girl, interrupted

From being single mother, social heiress, brand ambassador for a beauty brand and now singer for Shaan’s next film Chup, Juggun Kazim is going with the flow to pursue causes that are closest to her heart.

Juggun Kazim defies all laws of high society.

Brought up in an aristocratic household enriched with art, history and classical music, social heiress to two of Lahore’s elite dynasties – the Saigols and the Kazims – Juggun’s demeanor is belying. She is blue blooded no doubt, but you could be fooled as she blends in with the crowd whether she is saying a prayer at Shah Jamal or is seated in the front rows at fashion week. Petite, animated and always wearing her heart on her sleeve, Juggun Kazim certainly isn’t your average high society butterfly.

Juggun Kazim with Ali Azmat at the PFCD Sunsilk Fashion Week

Much more like the girl next door, she’s someone who has been taken to task for her relationships, her fashion faux pas, someone who constantly struggles with weight and someone who has a penchant for being politically incorrect in public. She has a delightfully crass sense of humour and often bursts out into laughter at her own jokes, which she repeatedly did as she offered reality checks on most of Lahore’s top models during fashion week. Much to the horror of her relatives who were watching closely!

She is also someone you can easily warm up to, as foreign journalists did when Juggun offered to take them to Shah Jamal for a dose of Pappu Saieen unplugged. That also happened during the PFDC Sunsilk Fashion Week in Lahore; an evening that began with high fashion and ended with spicy mutton chops and rickshaw rides all over the city. As unorthodox as the silver stud that pierces her tongue (a painful college experiment in Canada, she remembers), Juggun helped designer Yusouf Bashir Qureshi orchestrate this midnight adventure.

She’s lively, sure, but her buoyant façade belies the sadness she carries and Juggun just as easily breaks down as she talks about the harsh realities that have hit her: abusive relationships, divorce, being a single mother and being alone – for most of her life – in the midst of a madding crowd. Emotional is therefore what describes her best though she keeps it well under control. Despite the odds, and there have been many, she lives life as someone optimistic, sensitive rather than being a snob, valuing friendship over social bonding. Her son Hamza, whom she is fiercely protective of, is the best thing in her life and she talks about him incessantly.

Personaliy aside, Juggun is also quite talented – liberal arts run in both sides of the family (Rehana Saigol is her maternal aunt, Raza Kazim her paternal uncle) – commanding the spotlight in whatever she prefers to dabble in, be it modeling, acting, hosting her own TV show or appearing in music videos. No surprise then that L’Oreal has just signed her on as brand ambassador for Garnier in Pakistan. Very much one of the ‘real’ women the brand likes to promote, Meher Bano (her actual name) fits the bill to perfection.

The going wasn’t always this good for her and while she had been part of the fashion/entertainment scene for many years, it was Jal’s Sajni video in 2007 that brought her back on the radar as a potential star. Fast forward several years and today she sits on the industry’s A-list with thee television plays (Vasl, Judaii Maar Deti Hai and Man-O-Salwa) two different talk shows (VIPS Only and Honestly Speaking with Juggan Kazim), a lucrative two-year contract with a foreign corporation (as their brand ambassador) and also several feature films, which are in the pipeline.

Chup is the first of the three-film deal she has signed with Shaan and it promises to be Shaan’s answer to all those critics who have been taking his genre of commercial cinema to the cleaners. Juggan refuses to divulge information on the story but the fact that you have an avant garde cast and crew (Zeb & Haniya, Shafqat Amanat Ali and possibly Rahat are on the musical score) says a lot about the sharp twist Producer and Director Shaan is about to take.

“It’s a family movie,” is all Juggun offers, “Mashal Peerzada has written the script and we have all taken a year and a half to work on it. I play the character of a singer and Zeb & Haniya will be singing for me. Can you imagine me singing? (She breaks out into laughter) Shaan gifted me a guitar to get comfortable with my character because it has to look natural.”

“I had to lose weight for the film,” she adds, “but I intend to gain every single pound back once the shooting is over. I’m not big on the emaciated look!” Pun intended.

Juggun may want to hold that thought as she already has a Humayun Saeed and Mahesh Bhatt joint production in the works, while she also is in talks with Moammar Rana for a third. Certainly on a roll here, can Juggan step into the role of Lollywood’s next big thing, if that is what she wants? Hardly a Reema or Meera, does she fear that she will rise to massive fame much like Iman and then fizzle out due to lack of appropriate projects?

“I have a child and a home to run and I’d ideally want to follow the career path of Shaan and not Reema, Meera or Iman. I’d like to be the next Shaan, who appeals to the masses as well the elite. He does quality films and he does commercial cinema. I wouldn’t mind doing commercial films for the experience and experiment with both. I think that educated people need to get into films to make the necessary changes.”

Change is what Juggun is after these days and that is one reason she quotes for signing up with this particular beauty brand. Far from the glamorous life she leads, it’s social causes that are closest to her heart.

“Garnier promised me that any cause that I support they will support 50 per cent” she offers information on what motivated the deal. “I wanted to open a women’s shelter and I can finally do that with their support. I work with Sahil (for abused children), Pehchan (for street children), SOS (life support) and Fountain House (for the mentally challenged). Social work is a major part of who I am. I have seen violence up close and I have seen major tragedies in my life. I support Cancer Prevention because I’ve lost so many people to cancer. I just want to help.
“Anyone can donate money but it’s when you invest time that you show you really care. Citizen Foundation is something my whole family, the Saigol family, supports. And I don’t agree with doing charity quietly because when you talk about it, you may be motivating others to join in too. I am happy with this deal because this brand gives me a much bigger margin to do what I want.”

The deal may have opened margins for Juggun’s social work but it also keeps her on the celebrity radar as she frequents events as spokesperson for the brand she represents. And things promise to get bigger for her once Chup releases (probably in 2011 though nothing has been confirmed). Till then and through it all, motherhood appears to be the single most important thing on her mind. Everything else simply falls in place.

The Last Days of Disco Stick!

Frieha Altaf’s twentieth anniversary pays homage to the golden era as she continues to dust the new millennium with its magic.

Firebrand, Frieha Altaf

By Aamna Haider Isani
Dawn Images, April 25 2010

It’s who Frieha Altaf is in 2010 that puts everything she has achieved over twenty years in perspective. Many people accomplish milestones in their life but they get left behind like pebbles in the sand as their impressions wash away with the tide. Frieha, on the contrary, is someone who has always managed to ride the wave.
Anyone who knows her will vouch for the fact that she has the stamina of an eight-cylinder engine, the same as the 1955 Buik Riviera hardtop coupe that she drives. And she has driven Pakistan’s fashion industry to where we see it today – fashion shows, television programming, style awards, corporate collaborations –it wouldn’t be wrong to say that she has been a hardtop driving force herself.

Aliya Zaidi, the original catwalk queen, who looks as good today as she did back in the day!

The 80s wasn’t a very liberal decade and yet we remember the rise of the fashion industry as if it happened yesterday. Nothing short of being golden years, when fashion was a passion more than anything else, Frieha is one of the people who define them. And thanks to her relentless commitment to the job, fuelled by that very same energy, she has managed to ensure that at least some priceless qualities of the golden era stick. She has passion and it is fuelled by a drive to achieve new heights, face new challenges.

From being one of Pakistan’s first professional models, to artist, actor, writer, choreographer, coordinator and eventually CEO of her own company Catwalk Productions (all while being a committed single mother), Frieha is unique in that she has lived like a woman and worked like a man, for better and for worse! She is someone with muscle, sprint and more of the male anatomy than many characters in the fashion industry. Anyone who has heard her bellowing backstage at any of her events will bear witness to that!

It was that very booming voice that beckoned and the short drive to Mohatta Palace took one over the last twenty years of her career. It’s still going strong, which is exactly why this twentieth anniversary celebration was more joyous than bittersweet.

A sense of nostalgia hung thick in the air, blowing around with the cool Karachi breeze. The majestic backdrop of Mohatta Palace threw light on everything she has achieved, all documented in a gallery of splendid archives. The entire fashion industry’s evolution unraveled with it. Almost everyone who had been part of her life was there to honour her. From friends and mentors Imran and Fareshteh Aslam, Tapu Javeri, Deepak Perwani, Saqib Malik, Tariq Amin, to colleagues, models, musicians and people who she has had steady relationships with. Classic models like Aliya Zaidi and Attiya Khan took to the catwalk and reminded us of why their supermodel era was so sorely missed. This was a reunion to reckon with, indicative of the high esteem this woman has earned.

Frieha certainly could not have done it alone; her success would not have been possible without these people, many of who have helped carve her career to the proportion in which we see it today. She upped the game but there were people to boost her. There were people who helped conceptualize the memorable Lux Style Ki Dunya series that ran on state television, giving fashion unprecedented mileage. Musharaf Hai, for one, played one of the most influential roles in realizing Frieha’s dream of the Lux Style Awards, the grand annual Carnival de Couture and consequently much more. Her friends and mentors brought credibility to her brand in a mutually beneficial relationship.

The shows would not have been the same without Tariq Amin, the videos without Saqib Malik and the fashion shoots without Tapu Javeri. That said, she has famously always worked with everyone, bringing Lahore and Karachi together whenever it seemed almost impossible. Through thick and thin she has persevered without allowing destructive, divisive politics and camps come between her and her work.

Ali Zafar spins his magic into celebrations at the Mohatta Palace

Just one look at smorgasbord of names she had managed to get together was indicative of the respect she commands. Designers like Maheen Khan, Nilofer Shahid, Shamaeel, Amir Adnan, Sana Safinaz, Faiza Samee (many of who did their first shows with Catwalk) brought in vintage collections.
“People are asking me where they can buy these clothes,” Maheen Khan laughed, “and I keep telling them they are twenty years old from Frieha and Neshmia’s (Frieha’s sister) personal collections!”
Sure enough, one recognized many outfits that Frieha had either worn as a model (she wore an outfit from Deepak Perwani’s latest Amrita Shergill collection that night) or later as a celebrity on the red carpet. There were twelve collections, stunning them all as they juxtaposed the contemporary and classic while giving way to the future of fashion in a short capsule by upcoming designers.

We relate her to the eighties but “Frieha is always thinking about what to do next,” said Fareshteh Aslam, “which is why she had to add the capsule of new designers.” In between rested the new age rivets, designers like Nomi Ansari, HSY, Shamoon Sultan of Khaadi and Sonya Battla who represent the power of fashion as it is seen today.
It meant stretching the show to an undesirable length, taking just the fashion segment beyond midnight, but to Frieha it meant holding young designers in the same embrace as her old friends. Fashion did eventually make way for music, with which Frieha has been associated by way of music videos. And what an emotional trip that was!

In a brilliant concept, she coordinated musical bands Vital Signs (represented by Shehzad), Strings, Jal, Faakhir, Fuzon and Ali Zafar to sing covers of each other. They began with classic hits and ended with an Ali Zafar medley as the grand finale.

This was Frieha Altaf’s ‘Style Symphony’, an orchestration of everything that has earmarked Frieha’s career, with fashion and music in the spot light. People have accused her of giving in to the ‘variety program’ module too often but she has only done what needed to be done. She has been integral to the industry’s growth and now that it has matured, one would like to see her getting some healthy competition. Only competition will ensure further development and even Frieha would agree that at the rate of progress we are seeing with fashion weeks et al, Pakistan needs ten more Frieha Altaf’s to handle the dynamics.

That said, even after twenty years of working as Pakistan’s most influential firebrand, she still has a lot of wind in her wings. There’s enough steam to take her another twenty, perhaps thirty years into the future. Here’s to hoping that we see it happen the healthy way.

Photographs courtesy Faisal Farooqi @ Dragonfly and Tapu Javeri

FPW2: Haute off the runway!

(Dawn Images, April 18 2010)

A quick round up of collections shown at Fashion Pakistan Week 2 beginning with the best, passing through the potentially strong and bypassing the worst.

Nine Masters: fashion week’s most prized treasures
Karachi’s high design definition is what gives Fashion Pakistan Week the confidence that it enjoys. And there were many solid names that came forth with decades’ worth of experience and/or design maturity that you can only associate with brilliance. Sana Safinaz made their fashion week debut in Pakistan with a bouquet of everything that falls under their brand umbrella. They opened with elegant chiffon shifts and followed with their diffusion line. A little haphazard for a coherent collection, every piece was nevertheless flawless. Shamaeel, another name that has been synonymous with sophistication for around two decades, built upon her last showing and presented an artistic perspective on Baluchi fashion. She printed silk with Mughal miniatures and added extra dimension to already textured silhouettes. Maheen Khan showed twice: once for the lawn she has designed for Nishat and the next day for her classic line. Both times “Mama Coco” (as Eric Choong from Malaysia kept referring to her as) came forth with her signature simplicity; Maheen’s clothes are like the froth that skims the surface of a cappuccino: fragile and yet so strongly bringing the flavours of fashion together. Deepak Perwani’s Amrita Shergill collection was a radical shift from his last showing. This time he chose elegance as his USP and presented a collection that spoke for the artist who ranks amongst the Nine Masters of India’s acclaimed art treasures. Some pieces in Perwani’s collection did appear to be miscast in this style narrative but they were intended as the Hungarian aspect of Shergill’s personal style. Faiza Samee’s ‘Summer/Autumn’ collection was this couturier’s vision of what to wear formally through the season in which temperatures rise high yet occasions come plenty. Beginning with whites perfectly set off by fragrant motias, which the designers wears in her hair herself, Samee proceeded to her traditional Kuchi kurtas and then formal/trousseau wear, which she does best.
Beyond the old guard, there were some relatively new names that left a long lasting impact. Shakeel Saigol may have made his runway debut but the man is an institution where art is concerned and he brought that depth to fashion. Nida Azwer, nominated as one of Pakistan’s emerging talents last year, walked that line and crossed over as one of fashion week’s best. Similarly Adnan Pardesy finally found his balance in a collection that was experimental yet wearable. His quilted jackets were the work of a master craftsman. It can be said that in two entirely different realms, Nida and Adnan have added immense strength to Pakistani fashion.
And last but not least it was Kamiar Rokni and Tia Noon that emerged as integral to the event. Not only was their collection spot on for ready to wear, affordable yet tasteful summer fashion but by showing in both cities they proved that fashion weeks need to be about making business sense. And that was as important a message to send out. Kami and Tia sell well in both cities and therefore to them it was essential to show in both. One hopes designers both sides of the fence are listening and learning.

‘Rising Stars’ that can shine very bright
Following ‘haute’ on the heels of fashion’s top names were numerous rising stars that have shown the potential to shine very bright. Rizwanullah made the strongest statement by showing an avant garde black and white collection, replete with burqas and contemporary imagery. It reflected the designer’s own style and he now needs to make sure his clothes are available to sell. That’s the only way people will take him seriously as a designer rather than a showman. The same applies to Ali Xeeshan, who needs to repress the urge to entertain his audience and translate his vision to wearable clothing. Fahad Hussain showed some very well embellished jackets and he presented them in an ode to McQueen, which one must say was one of the best out of many tributes paid at FPW2. Showing twice was another talented designer from Lahore, Kuki, whose menswear in its warrior frame of mind, was stronger that his womenswear. Both Fahad and Kuki are forces to reckon with. Munib Nawaz presented a well-executed all-black menswear line whereas Rana Noman (Chinyere) wowed everyone with his creative vision for Bareeze couture. Shehla Chatoor, making a runway debut after operating her own atelier for years, also emerged as a potentially strong player in the style arena.

A special mention to Trial N Error, Chamak, Zaiena Haider, Abdul Samad, Datch, Unbeatable, FnkAsia, Zarmina Khan, Zaheer Abbas, Fayez Agariah and Sanam Agha for showing glimpses of creativity that may have fallen short of wowing completely but certainly had the potential to grow in one way or the other. Many of these labels have a stronghold on design whereas others have the power of retail but it is essentially the union of both these characteristics that can make a good designer great.

Foot note: All 53 collections shown at FPW2 were styled by Sabs (women) and Khawar Riaz (men), who was unarguably the more creative of the two. However, as event organizers pointed out when questioned about the repeated use of only these two stylists, it was pointed out that Sabs had the infrastructure to take on this kind of a project, was easy to work with and that she could easily translate a designer’s requirements without interfering with her own vision. Khawar of course is the country’s best stylist when it comes to men; no doubt then that the male models came out looking picture perfect.

The Grand Verdict
1. Best Pret Collection: Kamiar Rokni, for underlining summer in the coolest shades of blue and putting it together with such subliminal finesse.
2. Best Couture Collection: Adnan Pardesy, for creating clothes that were wearable while being architectural masterpieces.
3. Most Promising Collection: Fahad Husseyn, for juxtaposing his craftsmanship with a futuristic vision.
4. Best Menswear Collection: Shakeel Chand Saigol, for bring artistry and tradition to menswear without falling prey to it becoming a sexual burlesque.
5. Best Celebrity moment: Rehana Saigol, who has read Shergill’s letters on stage, for walking out as muse to Deepak Perwani’s Amrita Shergill collection.
6. Best Accessories: Shamaeel, for the carefully crafted headgear and jewelry that featured the same artwork as her clothes.
7. Most Impressive Debut: Shehla Chatoor, who showcased a very strong western line, topped up with her own collection of Swarovski studded bags and shoes.
8. ‘Make Pakistan Proud’ Collection: Faiza Samee, for giving traditional whites a contemporary twist, for retaining her signature in the Kuchi Kurtas, and for making such fabulous colour plays with block prints.

FPW2 picks up pace

Fashion Pakistan Week 2 began on a low note but gained momentum as it proceeded to day two…
(Dawn Images, April 11, 2010)

The Autumn/Winter 2010 edition of Fashion Pakistan Week (FPW2) jumpstarted on Monday, April 5 and one says ‘jumpstarted’ because it was almost a dying battery of power that the entire industry operated upon. Back to back fashion has been exhausting for most people who have been in the loop of things and to experience a fourth fashion week in six months was overwhelming for many. Consequently, fashion week began on a rather low note. It could have been the multiple blasts that had rocked the country earlier in the day or simply the fact that most of the collections rolled out on Day One were an eyesore. Thankfully Day Two picked up aesthetically and two delighted Fashion Pakistan members – Rizwan Beyg and Deepak Perwani – could be seen doing the proverbial dance of joy. “The buzz is back!” was their chant.
So how different was this fashion week from Fashion Pakistan’s debut last November? Only the first two days had elapsed at the time this story went into print, but from what one had seen, there were some positive changes. For one, many dynamics necessary for any fashion week to operate smoothly and successfully were in place. Media registration and accreditation was efficient and the schedule rolled out as much on time as it possibly can in Pakistan. It would have been convenient to have daily line-ups but perhaps the slotting of designers was uncertain until the very last minute. That was the only plausible reason. One will also urge organizers to begin showings earlier in the day – as is practiced anywhere else in the world – so fashion weeks can be attended and slotted as work and not evening entertainment.
One saw an improved version of the red carpet, complimented further by a separate black carpet rolled out by L’Oreal. Though celebrity presence was stringy –one always needs stars to bedazzle the paparazzi – the lounge itself was well put together with suspended cubicle montages of various fashion photographers and various beauty booths for sampling. The red, black and white theme put together by the Wow Factor team worked very well and overall it was an elegant lay out. One felt that the only thing holding the event back was lack of resources (read finances).
While the event had stepped up since November, FPW2 came no-where close – in terms of facilities – to the PFDC Sunsilk Fashion Week held in Lahore. Here the venue had its limitations, the VIP lounge was an all-access area and the catwalk/seating area was small and restricting. Announcements were repeatedly made to not walk on the catwalk but it was either that or stepping on peoples’ feet. Things were a bit too cramped all over and one feels Fashion Pakistan should look into other venue options in future. Hopefully they will be able to find a title sponsor, which should then give them the resources to delegate responsibilities to professional organizations instead of having to do it all in-house. Time and consistency in holding the event should manage to filter out the flaws and replace them with essentials.

Catches win matches and collections build fashion weeks!

53 shows in 5 days meant viewing an average of 11 collections a day and contrary to what an official representative of Fashion Pakistan said to this scribe – “write what you want about the collections because we had nothing to do with them” – they were indeed the council’s responsibility. It was widely felt that designers should have been streamlined and their collections edited for relevance and hence brevity. It would have saved time and resources and that’s what council heads should have been doing instead of managing the surface value of the event.
Perfection
• Shamaeel’s collection of miniature prints was beautiful, with indigenous Pakistani elements that one wishes had emerged more frequently in other showings. Complete with the artistic headgear and silver jewelry, designed exclusively for the show, this collection was pure perfection.
• Sana Safinaz opened with six beautiful printed chiffon pieces that spoke for the spirit of summer and then progressed to showcase a sample of everything they design as a brand. While each and every outfit was flawless, the showing lacked coherence as a collection.
• Chand Saigol designed as an artist, bringing impressions of his jamevar series, zebra motifs and his iconic Chinese imagery to his canvas that was cotton. A very crisp collection.
• Shehla Chatoor’s opening segment showcased luxurious silk dressed, held together with thick gold chains. Serpentile in mood, this collection was seductively very tempting. Shehla did the intelligent thing and divided her showing in two, following her luxury prêt line with trousseau wear.
• Nida Azwer’s collection was stronger than what we saw her design for Lahore. Retaining her signature rilli patterns, she brought in motifs from ancient civilizations, painting them on a variety of silhouettes. Mature in design sense, the best thing about Nida is that she realizes the importance of minimalism and knows where to draw the line.
Promising
• Zaheer Abbas showed promise in his debut but one felt that his collection was too self indulgent and not at all in sync with world trends. Individually the clothes were well crafted and they reflected upon his skills but collectively – considering the passé colour palette and use of bells – his collection lacked vision.
• Abdul Samad and Sanam Chaudhry, both showing for the second time on this platform, returned with surprisingly interesting collections. Their first were apparently their worst and it takes strength and resilience to learn from your mistakes and move past them. A well deserved round of applause for both these designers.
Predictable
There was an entire entourage of designers that put out collections that were too similar, and not pleasantly so, to what they have already shown. It caused for major déjà vu more than anything else. While some, like Ali Xeeshan, Kash Hussain, Aeisha Varsey, Nauman Arfeen and Kuki were at least interesting in concept, others were a complete wash out. Designers who have diluted the impact of fashion week for a second time should not be encouraged to show again.