It brought back feelings of nostalgia to see a lit-up catwalk in a packed auditorium.
The media once considered the catwalk to be an essential component of the numerous fashion weeks and shows that would be scattered throughout the yearly fashion calendar. However, the local fashion industry is currently struggling with a fluctuating economy and a lack of sponsorship, so the catwalk rarely appears.
The Trade Development Authority of Pakistan (TDAP) deserves credit for making sure that the textile-focused TEXPO 2024 included a two-day “fashion week.” The event was attended by a number of foreign buyers, most of whom came from mundane textile backgrounds rather than global fashion industries.
Even though the majority of visitors may not be particularly interested in fashion, it is always hoped that viewing the work of some of the country’s best ateliers will encourage them to place orders for ready-to-wear, embroidery, indigenous luxe fabrics, and other items. But this has only happened a few times before, and knowing this, one always relies on the hope that the show would at least be able to present a “soft image” of Pakistan in these tiresome times when the world may view Pakistan as violent and rife with terrorism.
A soft image is acceptable. Not a soft, unappealing image. My issue is with portraying unkempt, difficult-to-understand clothing under the guise of “high fashion.”
Over the course of two days, I watched the fashion show and felt a sense of déjà vu, though not always in a good way. Among the plethora of mediocre, forgettable lineups that appeared to have been assembled in a haste, there were a few good collections.
However, let’s begin this analysis with the most notable collections.
The Pink Tree Company displayed serious fashion prowess with a collection of quirky, carefree cotton tunics and pants in white, an autumnal capsule made of khaddar with beaded embellishments, and exquisite formal wear made of crushed, block-printed malmal and woven jamdani.
The all-white attire was “dedicated to oppressed people all over the world;” The outfits were embroidered with the faces of various people and some of their most well-known quotes, and the models wore Pashteen caps. There was a lot more to look at, like Saima Haq’s handcrafted brass jewelry and Adeela Sulaiman of Oddbird Art’s pretty bags. It was evident that the minute details that set a collection apart had received a lot of attention.
In a similar vein, Zainab Chottani, the designer, put her best foot forward with a collection that stood out due to its brilliant color mix and intricate kantha threadwork. Embroidered on statement jackets and tunics and amplified by bright color blocks, the designer’s canvas of pure silk, raw silk, and chiffon featured leaves, tree stumps, and intertwining vines representing the tree of life.
The clothes demonstrated Zainab’s stature as a designer. She made use of her strengths, which were color, texture, embroidery, and fusion cuts, to put together a lineup that was very cohesive, very coveted, and also very memorable. A collection of funky jewelry that Vaneeza Ahmed, a former model who was also Zainab’s showstopper, had just launched was also prominent in the show.
Zainab Chottani may not have known it, but her show also sent a message to her colleagues in the industry: You don’t have to try to make anglicized gowns just because your collection is going to be shown on a catwalk.
What you might think is “avant-garde” usually looks more like an unattractive desi “goan” than a cutting-edge gown. You might just be able to put together a show that stands out if you focus on what you are best at and what sells the most.
Fahad Hussayn presented yet another gripping collection now that we have completed the much-needed lesson. This was the designer’s “Faction” line, which was the fun, edgy alternative to his heavy-duty bridal gowns. Rather than the overall designs, the pieces themselves caught my attention.
For instance, a black quilted jacket with a bejeweled tiger roaring at the back stood out more than the blingy, extremely experimental short dress it was paired with. The capes, the men’s lightly embroidered tunics, the faux fur shirt and pants, and the statement jewelry were all stunning.
This lineup demonstrated Hussayn’s expertise in providing fashion experiences rather than merely showcasing clothes. Everything, from the clothes to the bags to the jewelry, was made in-house. Hamza Banday’s styling and music were carefully chosen.
I know that Fahad has a passion for design because I have seen his work over the years. However, even someone who isn’t familiar with the designer’s career would have to admit that his work, including the occasional fashion show and the numerous photo shoots, are works of art rather than just a way to sell clothes.
Other lineups were hit-and-miss, with more hits and fewer misses typical. Using applique, embroidery, and print, Shamaeel Ansari created a collection that adhered to the export-centric mandate of a TDAP show.
