By Zurain Imam

My friend Francesca from Cape Cod not merely dropped names, but hurled them spuriously and vicariously during every conversation she had amongst our small coterie of friends. This not only limited the level of intimacy she was unable to foster amongst us, but she had also become a bit of a joke with Anne from Seattle; Jodie from Long Island; and myself, Zoë, from Portland Oregon. I list where each of us is from because Francesca insisted that in life, as in real estate, location was everything.

Anne and I have known each other the longest and the most consistently amongst the four of us, as we attended the same Oregon liberal college for 'gifted' students. I'm not sure why I gained a place there, but my unconventionally minded and ambitious mother had wanted me to attend an atypical school because she believed strongly that her only child had to have the vestiges of talent that she said she never had an opportunity to make use of. Anne, on the other hand is a gifted artist who majored in Painting. Her thesis was a series entitled 'World Class Whores' in which she depicted global images of prostitution. With money from the sale of her Tannoy stereo and used art books she had paid international students from places like Pakistan and Peru fifteen dollars an hour to sit for her. She even convinced me to portray a Dutch prostitute dressed in latex and torn fishnet stockings because she said my dish blonde hair and vacuous green eyes embodied the deterioration of Nordic values. Anne's own long wavy chestnut hair which grew well below her plump, zaftig backside was often stained with oil paint. She would scrunch her limpid burnt sienna eyes when assessing a new model and her natural, un-plucked brows, like Mariel Hemingway's would frown into a caterpillar shape. I mention an actress doppelgänger because Francesca's habit of name-dropping had unfortunately rubbed off on the remaining three of us, so much so, that we all decided to take a break from one another and especially from Francesca.

Jodie summed up Francesca's predilection the best when she surmised that Francesca had a skewed sense of entitlement. She explained that Francesca felt that because she was from a wealthy family; had attended an exclusive women's college; was ash-blonde; cerulean-eyed; statuesque and carried each season's requisite accessories; there was nothing wrong in her stating the obvious, even if the palpable often appeared grandiose and pretentious. Simple as that.

Once, Jodie, with her pale, mottled skin, close-set coal eyes, aquiline nose (not unlike Bette Midler's) and diminutive, bosom-less frame, in an effort to appease Francesca's mania for celeb shoulder-rubbing  had mentioned to her that feminist author Camille Paglia had visited her bohemian aunt's Brooklyn home. Francesca had raised her perfectly plucked brows (reputedly last primped by Anastasia, brow-shaper to the stars) and asked Jodie if she had read 'Sexual Personae' which Jodie, being a Biology major who then worked at an uncle's pharmacy, had not. "So…? The point…? And…?" Francesca had rudely demanded from an unbecomingly blushing Jodie who had replied quietly, "Nothing." 

After Francesca in her towering Christian Louboutin heels had walked down the stairs of Jodie's shoe-box apartment that led out onto Soho's Spring Street and then sped off in her forest green BMW 6 series convertible back to her parent's sprawling manse on Martha's Vineyard, Jodie had immediately called me while I was just wrapping up work at 'The Portland Sentinel' where I am the fashion and entertainment writer-at-large. You may be thinking that with my being a style reporter my threshold for labels, celebrities and the season's 'must-haves' would be limitless. But you can't imagine to what extravagant heights Francesca's bragging went.

"I don't know whoy I or we put up with hwer Zo. She joist comes to visit me in Noo Yawk because she can't be bothered to decoide if she wants to wurk and live here or live off her parents some moure" Jodie whined in her nasal Long Island drawl. (Zo was Jodie's nickname for me, while I easily alternated between 'Jo' and Jo-Jo and we often teamed up as 'Zo-Jo.' The team of 'Fran-Ann' however sadly never came into being.)   "She's not loike us," Jodie continued. "I thought I loiked her when we foirst met her at summer camp and she invoited us all to her home. She still seemed down to eoarth then!"

But Francesca really never was anything less than passive-aggressively snobbish. Her hubris was quietly burgeoning as she minutely observed us, crinkling her pert nose and smiling ever so gently, her upturned lips creating irresistible dimples. Even in our mid-teens Francesca, who never allowed any of us to call her Fran or any other variant ("I don't want to be confused for that Jewish Leibovitz dyke woman," she had

hissed insensitively) had an air of imperiousness which she tried to hide with her seeming generosity.

Jodie and I only realized later, that amongst the children of her mother's blueblood friends she was not very popular. One of them, Catherine Waxman had snidely confided to Jodie and me that Francesca was really insecure because of her father's womanizing and her mother's frostiness, and that she lacked confidence, and hence "authentic style."

On the long drive back to Boston Airport that summer, I had observed my parents, who had flown down to visit friends in West Springfield, driven down to pick me up from Cape Cod and then have us drive back together cross country to Oregon. My blond and balding father with his long, craggy face, crinkly turquoise eyes and perma-frown(imagine a thinner more troubled looking William Hurt); and my auburn haired mother who looked quite like Mary Tyler Moore, except she rarely smiled, seemed so uncomplicated and ordinary, boring even. My father was the hard-working in-house accountant at a family-owned logging company while my mother, a frustrated actress kept our circa 1960 Beaverton home spotless.

I then remembered the conversations among Francesca's mother's friends dressed in their beige Capri pants and butterfly print Lily Pulitzer sundresses with oversize white Chanel sunglasses and carnation-hued headbands perched high on their tanned and impassive faces. None of them spoke about designer clothes or extravagant travel plans, but instead politely and unobtrusively enquired about the summer plans of each other's children. This seemed absolutely as it should be.  I had always grown up to believe that denizens who were from 'old money', or were comfortable in their own skins never spoke about either, and were considered gauche if they did.

So all throughout our teens until we all went our separate ways, except Anne and  I, I always wondered why Francesca was always prone to name-throwing. If God had blessed her with beauty, money and a modicum of poise, shouldn't she then be quietly grateful, rather than rant like a harridan?

Three weeks ago, Anne called me from Olympia, Washington where she had gone to curate an exhibition entitled 'Pleasure and Hurt' by seven Northwest artists. In her typically deadpan manner she asked me whether I had been recently watching 'Saturday Night Live'. A big fan during college, I now only caught snippets of the late night show.

<P class=MsoNormal style="MARGIN: 0in 0in 0pt">"Do you remember or even recognize the character who always tries to one-up everyone with exaggerated lies?" Anne asked. I mulled for a moment and told her laughingly that I had. "I wrote that character. It's based on Francesca." And then peculiarly Anne hung up. I tried to call her back on her cell phone but it had been turned off. My next impulse was to phone Jo and relate Anne's bizarre declaration, but I remembered Jodie's tirade about her having sworn off anything to do with Francesca, which required the same discipline, she said, as giving up matzo ball soup, and just as inconsequential a life change, she had added bitchily.            

Francesca and I had always gotten along quite well. I always made an extra effort to look beyond her meretricious exterior, and was intrigued as to what lurked beneath. She in turn had been inordinately curious about how I balanced my busy career with a romantic home life. I have to admit that I was not always successful at maintaining a perfect equilibrium in that department.My last boyfriend Gil, a musician who played bass in a Seattle-based rock band called 'Easy Greasy' told me that my wanting to' have it all' and all at once, was the death knell to our relationship. One would have thought it would be me who would have minded all the touring Gil did, but quite honestly I was too fiendishly involved in my career to register his absences and should perhaps have paid more attention to our relationship.

Francesca had met Gil and a few of my other beaux, and their reaction to her was always the same; wide-eyed and blathering and sometimes even innocuously flirtatious. Francesca herself had always been polite, even a little reticent, and never encouraged any of them. (The same could not be said of Jodie). Instead Francesca would extol my virtues, some which I didn't know I even had, and would always ask the men their intentions with me, for example were they planning to marry me, and more importantly, when.  I often watched these men, some of whom I was only recently getting to know, unravel in front of my eyes, some squeamish, some evasive and others combative even. I neither felt jealous of the obviously flattering looks Francesca incited from my boyfriends nor of the comments addressed to her like "You're a dead ringer for Rebecca Romjin, but even more gorgeous." Instead I found the exchanges quiet humorous as I looked from one to the other. I also felt quietly proud of my beautiful and sophisticated friend who was trying in her own way to look out for me and perhaps also making mental notes for her self to use later.

 I now excitedly called the Boardman's New England number. Francesca insisted that her friends always try and call her on the manse's land line first, "So that my mother knows that I have friends who care for me." A solemn sounding man now answered the phone.

"May I speak with Francesca Boardman please? This is her friend Zoë from Oregon."

"One moment please."

A flurry of muffled voices was suddenly punctuated with some unexpected sobs.

"Hello this is Frannie's mother, Edith Boardman speaking," said a voice which was a dead ringer for Martha Stewart. "Is that Zoë? Oh Zoë there's been an awful catastrophe."

I caught my breath as my heart began to pump faster, and for a fraction of a moment I mulled over Mrs Boardman's word choice. I closed my eyes and willed that 'catastrophe entailed nothing more than a home burglary or a business deal gone awry, and had a flash vision of Francesca wearing a K-Mart T-shirt and ill fitting flared jeans.

"I hope everything is alright Mrs Boardman. Please, is Francesca there?"

"Oh Zoe! I'm afraid to tell you that Francesca has passed away!"

I slumped in a state of shock in my uncomfortable, supposedly ergonomic office chair. My throat tightened and went dry and a sharp pain shot through my heart.

"But Mrs Boardman" I said with tears welling up. "I just spoke to Francesca a week ago. What happened? What are you saying?

"The funeral is this Friday at Crossways Cemetery," Frannie's mother said in a calm murmur. "That's on Mount Aldworth Heights in Vineyard Haven. You should come."

"Of course," I murmured back, not wanting to interrogate her anymore.

"She was my only real treasure," whispered the mother who had once bought a sizeable share of Jackie O's baubles at auction.

After the funeral, where I recognized, dabbing her eyes, a waspish Catherine Waxman in a short navy opera coat pinned with a cabochon brooch, Jodie, Ann and I went silently back to the Boardman's ivy covered brick stucco mansion that overlooked the pier. While the other mourners drank Chablis and whispered amongst themselves, the three of us climbed up the marble steps up to Francesca' room with Mrs Boardman's sadly smiling assent.

A wreath hung on the white bedroom door with a photograph the, colour of cold tea, of Francesca from her summer Smith College graduation. She was buried in that same understated écru broderie anglaise empire-belted dress, a favourite of hers. We each stared at the picture for a moment, looked at one another briefly and silently entered the room.

A heady mix of lilac and freesia wafted throughout the L-shaped enclave. Some walls of the cream room were plastered with beige, golden-striped wallpaper embossed with tiny maroon fleurettes that were reminiscent of something Marie Antoinette may have chosen. The lush rose carpet matched the brocade curtains with their elaborate awning. Faux Louis furniture that included an elaborate dressing table covered with different sized perfume bottles; expensive skincare; and photographs of us, and one of Francesca dressed as a gangster's moll, dotted the space. A claret coloured damask chaise longue looked out onto the veranda and the sprawling estate.

On the huge four poster bed were two large piles, one each for me and Jodie and a box for Ann each with a cream envelope with our names written on them with Francesca's distinctive left-handed scrawl.

Mrs. Boardman told us that Francesca had taken her own life. She did not want to divulge the details and we were far too sad to even fathom the truth.</P>

I looked at my stack and recognized the gunmetal Marc Jacobs slim trousers I had once admired; the pile of collector's item 'Vogue' and Harper's Bazaar magazines; an abalone and pearl cuff from Kyoto and the size eight Audrey ballet flats we often used to share.

Anne inherited Francesca's extensive library of art and fashion books with a provisional note that decreed that I was also to choose any tome I wanted. Francesca also bequeathed Anne with her collection of masks from around the world that numbered 32. Anne kept 14 of them and gave ten of them to me, including a beautiful macramé Columbine Venetian mask, while the remaining eight would be housed on Jodie's two studio apartment walls.

Jodie, with tears streaming down her face like a Jewish widow said she felt guilty accepting Francesca's generous gift of the deed to Francesca's albeit premature investment portfolio, some of which was used to pay for the funeral, but still left Jodie with a good five figure amount. Later Ann and I confided to each other that we did not mind not receiving money, but felt privately pleased to receive such personal and sentimental items. I realized that even in death, perhaps not meaning to, Francesca was imposing a set of hierarchical edicts.

We each sat in different corners of the room and read our memento mori letters in solitude.

From time to time we looked up at one another, about to utter some unbelievable yet hidden truth, but went back to reading Francesca's individual letters to us, the grieving trio that were once part of 'The Quirky Quartet.'

'Dear Ann, I never had your artistic talent and determination…' 'Dear Jo, I never had your strong work ethic and down-to earthiness... (Jodie accepted this as a compliment) Dearest Zoë I never had your easy-going nature nor was I a go-getter career woman…'

In my letter Francesca had written an addendum in red ink asking me first to promise not to tell anyone, especially her mother about its contents. The red script never wavered. Without an ounce of self-pity Francesca wrote of her tormented and lonely childhood and of always feeling like a misfit. She wrote of her father belittling her mother by paying untoward attention to his nubile daughter. I remember Francesca once hinting to me, over a glass of peach Bellini, about a brief period of childhood sexual abuse, but she had not identified the perpetrator of those nightly visits to her bed. Almost in the same breath she had accused her mother of treating her like an empty and hollow showpiece, but then had also admitted that her mother was her role model: "She's so calm and elegant." Looking straight at me with her own sad and child-like eyes, Francesca had rationalized the ensuing and logical feral teenage promiscuity and her inability to sustain intimate relationships (none of Francesca's affairs lasted more than a month or so) to this tormented time in her life. In this final letter which now shook in my trembling hands, she self deprecatingly explained that she had continuously tried to fill her life and the uncompromising void with "stuff" which she increasingly began to despise. I bit my lip and felt a surge of guilt plummet to the pit of my stomach.

On her hematite tombstone, the girl who once used to 'throw names' merely had

Francesca Daphne Boardman. Beloved Daughter and Friend. 1978-2007 inscribed in a flounced Lucida calligraphic flourish.

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East meets East

By Zurain Imam

The fashion melée-cum-society ball, 'Lux Carnival de Couture' 2004, slated as "a glittering ensemble of global high fashion" created a buzz at a private space in Karachi, and presented the show-stopping creations of Delhi-based couturier Tarun Tahiliani and the socialite-inspired designs of low-key Karachi duo Sana Safinaz.

Amid an ambience created by pristine, orchidaceous flora, cozy lounges, 'tables of 10' and an operatic blanket of white stage created by Ahsan Najmi, the two disparate design teams presented their alternately brashly sexy and quietly ethereal concoctions. DJ Asif opened Tahiliani's sequence with a medley of Bluesy, chanteusesque torch songs that correlated well with Tarun's provocative Josephine Baker inspired 'looks'. These included a camel-coloured flowing skirt over straight pants, worn with a bustier that was festooned with elaborate faux sapphire, ruby and emerald body jewellery that covered the bodice and hips. Armlets and an exquisite sapphire hair-pin end-noted the Parisienne flapper look.

Tarun is one of India's preeminent fashion designers and the founder of the Tarun Tahiliani Design Studio. His artisinal couture sensibility has allowed him to show his innovative structural forms with their fusion of Indian basics, dovetailed with a contemporary and international aura, in Paris and Milan.

Despite the emphasis on opera performance impact, with lush, stage-light-savvy outfits and a kaleidoscope of splashy mouth-enticing colour and motifs: strawberries, poppies and lemon sorbet, Tarun also offered interesting design elements including cowl necks, asymmetry, pintucking, ruching and trompe l'oeil ('trick of the eye' embroidery). The latter was gorgeously evident in an asymmetrical, tomato bandeau dress ruched into frothy streamers and trompe l'oeiled with an elaborate crest-like jewelled motif set below the bodice.

One also admired Tarun's use of ombré(tie-dye) in a sleek asymmetrical one-shouldered shalwar with intricate sitara embroidery burnished with only a touch of salmon sunset. Perhaps because of his exposure to European couture, with its intermittent nod to the past, Tarun's 90-outfit collection also included an elaborate yet exquisite satin, pin-tucked, multi-layered, backless lime and crimson paisley-motiffed Delphos gown with a Rajistani aura, that was end-noted with delicate crystal spaghetti straps. 

Egypt was visited via a beige sari that had a swirl motif inspired by Nefertiti's colour palette worn with a similar motiffed checkboard halter blouse; while the Orient was re-discovered in a Tang Dynasty red and cornflower blue floral printed cheongsam top, paired with slit black satin harem pants. In the same oriental sequence, Tarun introduced a '80s Parisienne construct in the form of a terracotta and cerulean floral motiffed one-shouldered asymmetrical mini dress, tied on the derrière and to one side with a satin ombré , tasseled sash.

A collection that exuded seduction also included a jersey, body-hugging off-the-shoulder, knee-length, burnt sienna dress with paisley motifs that was highlighted with an oversize trompe l'oeil pearl design on the open collar. The 'look' was accessorized with a dark tan faux alligator belt and an oversize Perspex and embroidered Kelly tote. What made all of the myriad looks gel was the hair, make-up and styling by Tariq Amin, responsible for both Tarun and S&S's sequences.

Thirteen models from Pakistan that included industry premiers: Vaneeza, Iraj, ZQ, Suneeta, Iman, Gia, Tanya Shafi; and newbies Neha, Rachael, Sherry and Zhalay; and eight Indian cabines that included 'supers' Carol, Sapna , Diandra, Joey, and Bhavna; and Laxmi, Vidisha, and Sonalika , were given sleek, gelled side partings, flawless, natural and complementary complexions, dark eyes and soft glossy mouths.

Vinnie received applause whenever she appeared on stage, specially in a sequence in which she wore a '40s inspired bikini-bandeau blouse with a salmon and tangerine sari held up by an exquisite brooch. A rather embarrassed Tanya Shafi was also cheered (most probably from a table of her relatives, many in the fashion business) specially when she appeared in a mauve, lilac and magenta candy-striped bandeau worn with a frothy crimson streamer-like skirt.

A 'Best Model of the Evening' competition was added to make things more interesting. The competition was judged by industry veterans fashion designer Maheen Khan, stylist Nabila and fashion photographer Arif Mahmood. Initially, one of the sponsors had chosen fashion designer Umar Sayeed to be a judge. "Yes, Umar's name was put forward," explained Freiha Altaf, the choreographer of the event, "but Collectibles does not have much of an insight into fashion. We added Arif instead purely because of superiority. Maheen, Nabila and Arif are fashion pioneers who have been there from the beginning."

Tarun's collection was added its own drama with a series of noir (black) ensembles that included a chiffon see-through '20s flapper dress with strategically placed hand embroidery and styled accordingly (jewelled hair pin, armlets and smoky eyes); and long-fitted opera coats with kaftan sleeves worn with spangled tailored corsets.

Tarun's love of Indian tradition was evoked by his iridescent colour palette that was highlighted by the lighting arranged by Show Works and lighting director Viraaf from Tarun's Indian team that included choreographer Aparna Bahl of Aparna-Tanya. Rajasthani pink and salmon on a gold-silver sitara speckled sari dovetailed easily with a lime green and tangerine fishtail gharara worn with a round collared crotcheted geometric tiled blouse; while pure ethnicity was presented in the form of a powder blue sitara embroidered sharara and the pièce de resistance: an ornate crimson and salmon gharara heavily embellished with intricate crystal, sitara and zardosi worn with a draped dupatta with delicate ruby and emerald trinkets.

"Tarun's collection was so modern, fresh and sexy with its iridescent colours and chiffons," said fashion designer Hassan Shehryar Yasin who had just returned from Fashion Week in New York.

However, a party-mode Tarun was not in a selling mood. "I don't want to play shop," Tarun explained. "Anyway, I don't think my clothes are really for the Pakistani woman," he added archly.

"We stayed true to our philosophy," explained Safinaz Bilal of Sana Safinaz. "Our cuts are very simple, not fussy but streamlined. We never were, nor will we ever be fussy. Our look is very sleek and not overly embellished. Our clothes are for the confident, sexy woman." Sleek, understated socialite-inspired creations with an emphasis on simple cuts and minimal embroidery remain the design duo's hallmark.

In lieu of the fact that their understated 45-piece 'pret-couture' fusion collection appeared after Tarun's comely showstoppers, many audience members grumbled that S&S's collection was anti-climatic.

In their defence, Safinaz explains: "There was no competition between the two fashion houses. We are very, very different. Sana & Safinaz are quite low-key and don't do many fashion shows whereas Tarun has had extensive international exposure; has never-ending amounts of money; as well as support from the Indian government and export agencies. We are not comparable. We also design keeping in mind Pakistani social mores and wearability. We design according to a practical ethos."

Says Vaneeza Ahmed (Vinnie), who was runner-up to Indian supermodel Sapna, who won 'Best Model' for the evening: "Ask the models who wore the clothes. Tarun's clothes were showstoppers created for runway impact at fashion shows in fashion capitals around the world. Pure drama and commerce. On the other hand, Sana & Safinaz's clothes while also exquisite had the advantage of being sophisticated 'wearable' separates. If you met someone wearing S&S and someone wearing Tarun at a live event like a wedding, you would definitely prefer the real-life beauty and sophistication of Sana & Safinaz. Adds Gia Ali: "Tarun's clothes may have looked good with the lights on stage, but there was something lacking in the finishing and they were not very comfortable to wear, whereas Sana & Safinaz's outfits fit like gloves and the finishing was impeccable."

The design duo, who have received best designer of the year nominations at the Lux Style Awards for three consecutive years, exhibited some glorious experimentation and offered myriad design elements. These included sweet-heart collars, deep backs, cap sleeves, palazzos, and cut-out embroidery. In contrast to their usual offering of frosty mint and light moss as seen in a kurti speckled with Sworovski crystals (the key embellishment in this collection) and worn with sleek satin and chiffon trousers, S&S also dabbled in noir (black).

"In this collection we used two main styles of embroidery; one called creuel embroidery which is wool thread on cotton; and secondly we used machine-work embroidery inspired by the motifs on Turkish carpets." One admired a soft pink sari, motiffed with oversize criss crosses made of Sworovski crystals worn with a crystal laden halter-neck blouse.

Other refreshing style elements of this decidedly haute mondaine collection included use of rough-hewn fringe on kurtis with graphic kaleidoscopic silver embroidery; and a front-open Grecian flowing overlay held up provocatively by a diamonté clasp on a fawn ensemble and end-noted by an ombré dupatta. One also admired the styling with a corsage of a sarong-style be-ribboned ensemble, and another sarong-style ensemble in ombré gold and indigo, held up with a jewelled clasp and worn with blood red pants.

S&S paid tribute to their own rich cultural heritage in their ode to ethereal bridals in the form of an asymmetric white ensemble with rich curlicue embroidery and fisherman net fringe; as well as a café au lait and dusty pink gharara worn with a front open short kurti. A gold tissue gharara with three-quarter sleeves with sublime cut out appliqué lent an otherworldly aura to the collection, as did a rich brick-coloured gharara modelled by Iraj. This one-time 'runway queen' was perhaps the only model who lacked a couture sensibility, whilst shrugging and slanting her shoulders into a passé pose, replete with her de rigeur feline pout. One was also jarred by the incongruous music during this bridal sequence, although Tapu Javeri's compilation for S&S was otherwise eclectic and apt.

This year's Lux Carnival de Couture, presented by The Friends of Teachers' Resource Centre, was much easier to stage in terms of styling, stage and music. "Last year we had two Indian, two Pakistani designers and Dior. I think next year will be even better," said Freiha, secretly disclosing the names of three more reigning fashionistas of the Indian fashion scene who plan to come for the next show.

The A to Z of Fashion

by Zurain Imam

Fashion is, of course, a reflection of the times. One can often recognize an era by its sartorial displays, whether it is the flowing ghararas of Begum Rana Liaquat Ali Khan's generation; the beehive and cat eyes of the 1960s; the bell-bottoms of the '70s; the dhoti shalwar of the '80s, the short kameezes of the '90s, or the fused acidic brights of the noughties.

Here we reminisce, rejoice and pay tribute to some of the biggest style influences and icons that have had an impact on Pakistan's fashion industry and continue to weave and spin their magic...

Amir Adnan: Beginning in the late '80s by designing quirky neck ties, since then his sharp, keen eye and business acumen have made him a retail czar, and his label a ubiquitous brand name that provides couture quality to the well- heeled gentleman.

> Ather Shahzad: The photographic duo from Shekhupura seduced Lahore and its sister planet Lollywood with their high-art tableau mode of styling, photographing glamorously dazed actresses and models who esteem them as indispensable demagogues. And they have even bagged a Lux Style Award.

Atiya Khan: A favourite of both Rizwan Beyg and Tariq Amin, this waifish and intelligent supermodel of the '80s brought a quiet elegance and sophistication to an otherwise loud and boisterous decade with her perfect features, slim figure and glowing complexion. She recently resurfaced with actor Shaan for a mobile phone ad campaign.

Aaminah Haq: The ultimate Barbie supermodel who challenged modelling standards with her diminutive height, but wowed all and sundry with her beautiful, perfectly proportioned face and diva-like chutzpah while winning myriad prestigious endorsements and a best model award to boot.

Arif Mahmood: A master of shadows who prefers to photograph in black and white, this lensman's contribution to fashion has been palpable especially among the more intellectual designers who favour his romantic and poignant personality-honed fashion spreads.

Honourable mentions: Photographers Amean J and Arshad Tareen, models Abdullah, Ameer Zeb Khan and Ahmed Butt; Aashiyana Market, stylists Angie Marshall and Asad Baig, sculptior and jeweller Amin Gulgee and Asian Institute of Fashion Design.(AIFD)

Bibi: With her perfect oval face, aristocratic forehead and statuesque limbs, this celebrated mannequin was one with the zeitgeist of the supermodel-obsessed '80s. Her gamine crop by stylist Nabila created shockwaves among the fashion community and her favoured slouchy men's wear attire also raised a few eyebrows.

Bilquis Nasrullah: Known as 'Aunty Billy' to the fashion fraternity, this Vreelandesque fashion editor and stylist has seen it all during her tenure as SHE's resident fashion Czarina. She is credited with discovering new talent, especially her keen selection of models who later became to be known simply as the "SHE girls."

Bunto Kazmi: Daughter-in-law of the celebrated Mrs Kazmi, this quiet and elegant bridal couturier is the choice of brides who want to look typically eastern. Traditional embroidery, classic cuts and perennial bridal hues remain this designer's forte.

Babra Sharif: This Lollywood diva is the Barbie who refuses to grow old (or up). Her petite proportions and delicately pretty face have inspired photographers and stylists; Nabila giving the ageless movie star her famous makeover. A veritable fashion icon of the past few decades.

Honourable mentions: Batul Rizvi ( Editor,'Visage'), Paris merchandiser Bhatti and Lollywood designer Beegee.

Calzoom: This Lahore-based, phoren returned label was the brainchild of occidental-phile designer Rubina Calzoom who offered serious western wear options to Lahorites and later to Karachiites in the form of stretchy Lycra gowns and sheaths, and smart western-cut suits. A favourite of Lahore's '90s party set.

Cybil: A protegee of Ather Shahzad, this Euro-chic woman-child with her slit bedroom eyes, pillow lips and unruly locks offered a respite from the shock gawps of plastic mannequins Natasha Hussain, Eman Ali and Aaminah Haq.

Capris: Although Karachi and Lahore are hardly resort cities, the short-cropped trouser favoured by the likes of Jackie O and Princess Diana became a staple in the wardrobe of the Pakistani socialite in the '90s. Often slit, the Capri was best propagated by couturiers Sana Safinaz and Shamaeel.

Honourable mention: The use of chunri by designers going through a deeply ethnic mood.

Deepak Perwani: This high-strung designer, often dubbed the 'Tom Ford of Pakistan' created a revolution with his brash approach to fashion, giving the young, hip socialite and fashion set myriad funky western and ethnic wear options. A favourite with models and actors who want to make a statement, but aren't too discerning about originality.

Depilex: This almost three-decade-old beauty industry institution is the 'baby' of Musarrat Misbah and her band of sisters who make this salon a hub for Lollywood divas and fashion magazine editors, as well as healed burn victims.

Dhotis & Dholak Shalwars: The trend of scooping up gathers of fabric into a deeply ethnic version of harem pants became popular during the empowered and liberating '80s when everything from hair to eyelashes and shoulder pads were volumized. The greatest proponents of this trend were Maheen Khan and Imrana Ahmed of Body Focus Museum.

Honourable mention: Lahore-based Deevees, lifestyle magazine 'Diva' and hairstylist Dar.

Eman Ali: Created from the same mould as fellow Lahorite Aaminah Haq, this sensual pin up, the fantasy of many an androgen-driven male, believes unflinchingly in her own celebrity in the fishbowl that is Pakistani fashion. Her devotion to her "creators" Ather Shahzad, who famously shot her slipping from an ornate sofa with a delirious stare, is also one of this model-turned-actress' unassailable traits or virtues.

Honourable mention: Lahore's ESS sandals for their comfort and style.

Faiza Samee: This deeply traditional designer has been creating jewel-toned block prints and deeply ethnic yet quietly glamorous bridal wear for over two decades and has participated in cross-border fashion exchanges, including 'Bridal Asia'. A favourite of the traditionalist bride.

Freiha Altaf: A veritable fashion powerhouse, deeply enamoured of style and fashion, this former model reinvented herself several times before becoming the country's most prolific and creative fashion choreographer famous for imbuing her shows with theatricality and tongue-in-cheek humour. A key member of the '80s phenomenon, the 'Style Mafia'.

Fauzia Hai: She was Pakistan's original supermodel, the quintessential great beauty of the '60s with her doe eyes, high cheekbones and serene countenance. She represented Pakistan in several international beauty pageants and was dubbed 'Barefoot Beauty' because she landed on English soil sans shoes, but full of grace and effervescence.

Farooq Mannan: This Adonis-come-to-life made quite a few female hearts flutter and male psyches envious when he entered the fashion fray, an early discovery of male model scout extraordinaire Khawar Riaz. A few dozen body-centric and fashion assignments later, he tired of being in front of the camera and has been working his magic as Asim Reza's assistant director on music videos including Faakhir's 'Mahi Ve.'

Honourable mention: Designer Fayez Agariah.

Gharara: An intrinsic staple of the subcontinental woman's wedding trousseau, this two-legged flared ensemble was hugely popularized by First Lady Rana Liaquat Ali Khan and re-eulogized by Nadya Mistry in her 'Lolita' collection.

Gulabo: Designer Maheen Khan's ode to truck art has found a niche among the hip and trendy set tickled by this tongue-in-cheek fashion label which debuted in 2005.

Hasan Shehryar Yasin: This fashionista began his career as a model but quickly realized that he preferred to be in control and soon after became one of the country's most stringent fashion choreographers famous for his scientific dictates. An early graduate of the Pakistan School of Fashion Design (PSFD), the fashion lover with a meticulous attention to detail has gained international appeal as a designer of note.

Hemlines: Like skirt lengths in the international fashion arena, kameez lengths have vacillated between long, knee- grazing shifts worn with tung pajamas in the '60s; to short, fitted A-line kameezes in the '70s, both making a renaissance in the '90s.

Honourable mention: Stylist Humayoun Khan.

Iraj: This Amazonian challenged cultural stereotypes of Pakistani beauty with her 5'10" frame, unruly mane of curls (recently cut by Nabila) and dusky complexion. This stunning chameleon has become the model of our times garnering prestigious campaigns, video cameo roles and runway assignments well into her decade-and-a-half in fashion, as well as becoming a role model for fledgling model novices.

Imran Kureishi: Pakistan's premier fashion choreographer began his fashion career over two decades ago with a simple stage tableau. Since then the pixieish and energetic fashion impresario continues to work with both new and established designers, brand labels and fashion students all with the same alacrity, dedication and verve.

Imrana Ahmed: Famous for her phenomenal cuts in slinky jerseys and elevating her ensembles to art as presented in her 'Body Focus Museum'. This quirky designer can be credited as one of the early pioneers of Pakistani fashion popular with the social set for her elegant day-wear.

Itwar (Sunday) Bazaar: From the country's most esteemed couturier to the experimental fashion student and the 'begum brigade,' to boot, this open market is an accessory haven for anyone with an eye for fashion.

Honourable mention: Photographer Izdeyar Sethna.

Jodhpuri: A cousin of the dhoti, this pleated and volumized shalwar made an entrance in the '80s and made a splashy resurgence at Rizwan Beyg's Spring/Summer 2005 ode to the same decade.

Jealousy: One of the seven deadly vices, this has become elemental to Pakistan's fashion industry and was perpetuated by the creation of the 'Style Mafia' which created a flood of resentment and cliquish camps.

Khawar Riaz: This unassuming Lahorite has become a one man fashion phenomenon: model scout, photographer, make-up artist even one-time designer. His most recent forays are his KR Crew productions and Ocular modelling agency with sights on a metrosexualized men's salon. The only fashion role he hasn't tried, however, is becoming a supermodel himself.

Karma: The brash love-child of Kamiar Rokhni and Mehreen Kardar, this Lahore-based fashion house is famous for its technically superior cuts, strong vibrant colours, sumptuous western ball gowns and peony and butterfly motifs. A favourite with the Lahore fashion set.

Khaadi: The forward-thinking entrepreneur, Shamoon's woven dreams were borne into fruition with the establishment of this fabric house which has revolutionized the fabric industry.

Karachi: 'The City of Lights' is home to myriad talented, creative and individual designers, photographers and models who are comfortable in their own skins and happy to work in a professional climate amid the buzz of the country's major media activity.

Lahore: The historical city has churned out some of the most talented and original designers and has been a wonderland for fresh, buff male supermodels including Umair Butt, Farooq Mannan and Abdullah. Lahore's fashion scene remains cliquish and incestuous.

Lunda Bazaar: If you're lucky you may find a vintage Saint Laurent dress or a Pierre Cardin pea coat at this outsize market where many designers traipse in search of the perfect ribbon, button, sneaker, overcoat or that rare antique find.

Labels: What began as a GAP-inspired concept store with its very own 'label' has grown to house other designers including Nomi Ansari and in the past, Maheen Khan. Ready-to-wear casuals has been this store's forte for over a decade.

Lux Style Awards: The brainchild of fashionista extraordinaire Freiha Altaf, who was influenced by her own TV show, 'Lux Style Ki Duniya', these annual awards endeavour to applaud the sartorial and styling efforts of Pakistan's burgeoning fashion industry. With three past efforts that have veered toward the incestuous and the dishevelled, this award show now has the Indus Music Style Awards to contend with.

Lulu Nana: This late '80s and early '90s model and beauty who was petrified of the runway, more than made up for it in front of the camera, especially for designers Imrana Ahmed of Body Focus and Rizwan Beyg who coveted her for their editorial shoots.

Maheen Khan: This stalwart of Pakistani fashion has stolidly eschewed 'death by embroidery' and has instead been lauded as the 'Queen of the A-line.' If a designer can survive and flourish after 30 years in the fashion business, then one has only to look up and ask whisperingly, 'What becomes a legend most?'

Maria B: Top of her class from the first batch of graduates at the Pakistan School of Fashion Design, this 29-year-old prodigy has become a veritable couture quality household brand. With a UK franchise and stores in all of Pakistan's major cities that offer hundreds of designs on a macro-level, this petite fashionista has plans to develop a lifestyle store and become Pakistan's first international fashion label.

Mirza Khursheed Masood: This old-school fashion veteran has quietly played a palpable role in the growth of the Pakistan fashion industry through his photographic fashion portraitures and billboard worthy campaigns. Visiting his studio is still like walking into a '60s Fellini set.

Metrosexual: With David Beckham as his idol, this new breed of male is often perceived as sissy because of his predilection for excessive grooming and designer wear. Pakistan's uber-metrosexuals include Ammar Belal of AB?D, model Faisal Shah and designer Kamiar Rokhni.

Honourable mentions: Stylist extraordinaire Mubashir and crochet expert Mona Nana Saigol.

Nabila: This veteran of the beauty business whose inspirations include Madonna and Boy George has carved a career that includes minimalist make-up artist, 'hair expert' image consultant and CEO of Creative Services. She has fashioned a Zen-like aura around her that sometimes makes her appear unapproachable yet a powerful entity in the world of fashion.

Nilofer Shahid: Strongly buoyed by historical and cultural themes such as the 'Rubaiyat of Omar Khayyam,' this Lahore-based designer's sumptuous collections are redolent of a European couture sensibility, but are deeply rooted in the beauty and mystery of her nation's bygone eras. Both a pioneer and a leader, this couturier has the misfortune of being the most spuriously plagiarized, often by designers who don't adhere to the permissible 'six alterations' rules.

Noorjehan Bilgrami: This designer's interest in textiles and block printing goes beyond obsession. In fact through the aegis of her Koel boutique she single-handedly revived the dying art of block printing. Intellectual and inquisitive, this artisan has explored the alchemy of indigo and produced a coffee table book and film about textiles and block printing that has helped to keep both vibrant, viable and alive.

Nomi Qamar: Full of brawn and James Dean swagger, this unconventionally handsome model oozed he-man appeal during the late '90s and created memorable photographic images with alter-super Iraj. Innately artistic, this little-boy-lost has finally found another creative outlet in styling and directing fashion segments for a fashion magazine show for TV.

Honourable mentions: Paris-trained empress of experimentation and radical themes Nadya Mistry; pristine society designer Nadya Shah; prince of bright colours and ever-changing silhouettes Nomi Ansari and statuesque and unconventional-looking supermodels Nadia Hussain and Neha.

Organza: This stiff and gauzy fabric was popular in the revivalist '80s when designers such as Shamaeel looked back to the past for deeply ethnic inspirations. The element tapered when the fabric became a fashionable staple both for brides and the sari in the late '90s.

Patiala Shalwar: A close relative of both the dhoti shalwar and the Jodhpuri shalwar, this innovative use of fabric has a theatrical European sensibility with its myriad vertical folds and seams. En vogue in the noughties, this style is a favourite of au courant designer Nomi Ansari.

Honourable mention: Pakistan School of Fashion Design.(PSFD)

Quick turnovers: Fashion people have very short attention spans and even quicker tempers. They want to see new faces and want to experience new trends even before they have fully appreciated the ones before them. Hence the 'quick turnover' and short careers of models, and "of the moment" photographers, designers and stylists.

Quince: This golden to greenish yellow colour is a hot favourite in the fused acid-obsessed noughties with designers such as Nadya Mistry using it in everything from silk skirts to delicately embroidered saris.

Rakshanda Khattak: This dusky and sultry model was one of the late '60s and early '70s most celebrated "models as sex symbol," famous for her joie de vivre and curvaceous bell-bottom toting figure. An early prototype for Iraj Manzoor, this model made numerous TV commercials and appeared in magazines like 'Women's Own' and 'Women's World.'

Ravissant: This legendary salon is where all the great stylists such as Tariq Amin, Shaheen Rahim, Shaeen Saeed, Asad Baig and Mubashir got their break, or passed through, honing some of their craft and talent under the tutelage of herbalist and grande dame of skin care, Daulat Rahmatullah.

Rizwan Beyg: Pakistan's self-appointed 'ambassador of fashion' this haute couturier is truly a pioneer who has buoyed Pakistani fashion forward in myriad ways as well as making international waves by dressing the late Diana, Princess of Wales. An artist, a visionary and a committed friend of fashion, he is one of Pakistan's most significant and indispensable fashion stars.

Honourable mentions: Traditional Barbie model Rubab, Rabi Centre in Karachi; and ruching — the elegant art of fluting and pleating as seen in the collections of Sonya Battla, Rizwan Beyg and Nadya Mistry.

Sari: Often called the most elegant outfit in the world, these six yards of fabric has been a staple offering of every Pakistani designer worth their salt. It has seen myriad transmogrifications from the favoured chiffons of the '70s to the heavy Banarsis of the '80s, to the understated neutrals of the '90s and finally to the psychedelic prints and fused acids of the noughties. The sari is forever.

Sana Safinaz: Stylish sisters-in-law Sana Hashwani and Safinaz Muneer make up the dynamic yet low-key couture label that has come to represent the ultimate in sophistication. In the decade-and-a-half they have been in the fashion business they are credited with making the slit Capri a viable fashion staple, and popularizing muted nudes, pinks and greens with understated embellishment.

Shamaeel: The '80s saw this intent fashion visionary open up many a history and art book and be entranced by a minaret of a faraway mosque, or a Byzantine fresco and transpose that imagery onto reams of fabric or highly intricate embroidery found only in the haute couture houses of Paris. A pioneer of haute couture in Pakistan, this designer led the way for others such as Sana Safinaz.

Sonya Battla: This London-trained designer became a milestone in Pakistani fashion with her very first sea-inspired collection which completely eschewed any form of embellishment, focusing instead on an almost Grecian form of draping. With collections that seem to speak of philosophical discourses, this designer has garnered an extremely loyal clientele enamoured of her intricate cuts and no-fuss detailing.

Saima Rasheed: With ever vacillating hair styles and colours, this maverick stylist's career has been marked by bold, brash experimentation and pushing the envelope for fashion editorial shoots, but being prim and appropriate when on set for prestigious campaigns. This savoir faire has made her one of the busiest stylists of the past decade.

Shaheen Saeed: This quiet and unassuming artist ranks as the busiest and quickest bridal stylist. But don't imagine a factory turnover atmosphere when she works her talents on each prospective bride. This focused aesthete has created many stark images over the years she has been in the limelight.

Honourable mentions: Stylist Shaheen Rahim, photographer Shamyl Khuro, doll-like designer Samar Mehdi,  veteran model Seemi Pasha, and fashion designers Shayainne Malik and Sanya Muneer.

Tariq Amin: Difficult to pin down and sometimes just plain difficult, this maestro of hair and make-up has been one of the strongest forces and influences in the fickle world of Pakistani fashion for close to 25 years. A fashion icon, this creative artist has easily morphed from make-up artist and hair stylist extraordinaire, to jeweller and photographer, to model and cameo video actor, to most recently a consultant at a talent and production company.

Tapu Javeri: Polite and jovial, this lens-man picked up a camera at 14 and has never stopped clicking. Known to make beautiful women look even more radiant and beautiful, this photographer has been influenced by western peers, the late Herb Ritts and Richard Avedon, and the wackily vibrant David LaChapelle. A recently published and hefty tome of black and white portraits reveals a different and more reflective side to one of Pakistan's most significant and visually vibrant fashion photographers.

Honourable mentions: Elegant model Tanya Shafi and Teejays.

Umar Sayeed: Polite, direct, kind and funny are some of the adjectives used to describe him. "Most beautiful, ethereal, gorgeous , divine and must-have" are some of the exultations used to describe the heavenly and intricately detailed creations of this arbiter of good taste; a favourite of individualistic style mavens and discerning fashion editors.

Usman Saeed: This ultra-creative miniaturist and NCA art tutor delved into a 'Midsummer's Dream'-like mode of fashion photography and created indelible and memorable images that still reverberate. His directorial debut at a NCA fashion tableau that celebrated several decades of fashion in Pakistan was one of the most important (and creative) fashion commentaries of the past decade.

Honourable mention: King of the fishtail gown, Usman Dittu.

Vaneeza Ahmed (aka Vinny): Whereas her closest peer and equal Iraj has reigned as the prowling Amazonian on the catwalk, this 'super' has evoked an approachable and refined elegance: girl-next-door meets cool mega-babe, a delicious melange of Holly Golightly meets Cindy Crawford. In the decade- and-a-half that this practical and down-to-earth beauty with the off-kilter nose and ironic brows has "worked hard for her money," she has amassed a veritable fortune via straight-shooting endorsement deals and sensible choices. A paradigm for all models of the future.

Voile: A favourite of daring creators who enjoy sensual titillation, this sheer fabric in both silk and cotton versions has been used by designers such as Nadya Mistry, Rizwan Beyg, Maheen Khan and Salman A. Khan over the decades.

Waseem Couture: This flamboyant Lahore-based designer whose muse was his beautiful former wife Sophia, was ahead of his time and perhaps out of synch with the quiet simplicity of Lahori fashion in the '80s. His most recent and memorable slew of images was the high art photographs of his jewel-toned, military inspired, raw silk gharara collection modelled athletically by Aaminah Haq and shot by Ather Shahzad.

Xeneb: This zany hairstylist with endless bursts of energy and infinite creativity including transforming herself into Marge Simpson was a breath of fresh air in the late '90s, especially her collaborations with fashion mavericks Zain Mustafa, Amean J, Iraj and Tapu Javeri.

Yahsir Waheed: A close friend of Rizwan Beyg and Nabila, this London College of Fashion alumnus and instructor at the Pakistan School of Fashion Design initially made his mark with knits in the mid-80s, but has since become one of the most original designers of lawn and an advocate to protect designer's work through the establishment of stringent copyright laws, a blueprint for other designers to heed.

ZQ: Also, but albeit less popularly known as Zainab Qayoom, this Lahore-based model is a beauty with brains. While completing a Master's degree in English and helping to edit a fashion magazine, she modelled for all the designers and photographers of note who appreciated this model's good manners and sweet nature. Forays to different locales have made this no longer "freefalling" fashion star confident enough to act in TV serials and a slew of successful music videos.

Zaidi (Aaliya): Known as the 'Queen of the Catwalk' during the mid-80s before the reign of Iraj began, this long-limbed and willowy beauty with the dreamy eyes, off-kilter nose and sensual pout was an absolute favourite with couturier Shamaeel who used Zaidi's proportions as a prototype for all of her designs. After completing her MBA and getting married, this one time 'supermodel' emigrated to New York.

Honourable mentions: Late '90s supermodel Zoella often paired with Iraj because of their similar heights and dramatic appeal, avant garde designer Zain Mustafa and Zainab Market in Karachi.

Va Va Virtues

 by Zurain Imam

"I design for passion," enthused designer Saadia Mirza who recently held her first solo fashion presentation in Karachi. An intimate 80-strong posse of Karachi's glittering fashionistas and socialites traipsed to purview Saadia's two fashion labels: 'Vintage', 'Vision'; and her accessories line, 'Visage'; all under the fashion house umbrella of 'Virtues'. Annie (of 'Sali' fame) was the glamorous and demure emcee dressed in a Saadia Mirza deep plum sequined strapless dress.

Musharraf Hai looked appropriately stunning in a black Saadia Mirza shift kameez emblazoned with a sparkly dragon motif, while photographer Tapu Javeri, Freiha Altaf and designers Deepak Perwani; a newly blonde Nomi Ansari, Rizwan Beyg, Maheen Khan, Faiza Samee and Farida Qureshi sat in the Cafe Flo's courtyard as a bevy of models including Iraj, Tanya Shafi, Rubab, Gia Ali, Tooba, Fawzia, Faiza, Neha (Lahore), newcomer Alina and Anna showcased Saadia's ethereal collections. The trunk show featured 32 outfits culled from both the 'Vintage' and 'Vision' lines.

The first positive element one noticed was the coiffure and maquillage. Creative director Ather Ali Hafeez had given Nabilas' head stylist, Altaf, a reference from a recent foreign ad campaign so that the cabines looked sublime with slicked back gelled hair, full colour-bruised lips, clean faces with glowing cheeks, nude eyes highlighted with only a smidgen of mascara and balanced by neat eyebrows. Fresh, young and modern. Many in the audience averred that the girls looked ten years younger, although 15-year-old Anna didn't really need to.

In 'Vision', the designer's western and contemporary label, Saadia "experimented to the hilt" and created an imaginative and individualistic impact; while with 'Vintage' (eastern line) she became enamoured of Victoriana and imbued this capsule with an ethereal femininity. Saadia graduated from the London College of Fashion in 1997 with a degree in fashion design and researches and follows international colour forecasts before embarking on her myriad collections.

Many of the fashionistas revelled in the opening numbers: Iraj in a beige bustier with a black net underlay speckled with sequins and the diaphanous piece worn by Anna who unfortunately didn't pose long enough. This writer particularly liked the floaty sky blue floral handkerchief top worn with capris and Fayezah in a sheer lime green halter handkerchief cut top. Shanghai trousers, structured bustiers embellished with "bling bling" Svarovski and turquoise rendered the line a decidedly western ethos.

The 'Vision' line was also all about the manipulation of fabric, ruching and exquisite draping. In one instance shredded chiffon was used to create an accessory-like appendage to a beige ensemble while Gia looked stunning in a floaty beige asymmetrical piece.

Gia again in a mermaid shantung sharara with chiffon sleeves; and Iraj in a silver, maroon and rose feminized sherwani worn with rose coloured palazzos encrusted with sequins lent a demure theatricality to the collection.

Saadia also merged a melange of other fabrics and materials including leather, silk charmeuse and embellished these with Chantilly lace. Both 'Vision's' and 'Vintage's' colour palette was vintage-inspired using beige, charcoal, plum and teal. "I wanted to keep away from black as every designer does black and instead substituted it with teal," Saadia said. "For the 'Vintage' line I used Victorian period beading, crystals, vasli, feathers, and vintage Chantilly lace, she added. "I am a trimmings freak. Whenever I go on foreign trips I obsessively buy some sort of trimmings. My family is kind of tired of it."

Iraj looked regal in a bold silver floaty top and a gaira skirt while Fayezah looked like a Turner portrait in an asymmetrical grey lace ensemble with antique Victorian beading. "There was a huge departure from the conventional fashion silhouette," said Rizwan Beyg. "The 'collection' had all the elements of international fashion. There was an emphasis on pattern and draping. There were flashes of brilliance especially in the embellishment; the ripping of chiffon; the ruching; pleats, bias cut collars and cuts; the asymmetery; and the use of Chantilly lace. Actually it was about two collections: a western collection and an opulently Lahori collection. The only advice I would give Saadia is that she needs to edit and separate her collections with the help of 'a trained eye'."

"I loved the golds and beiges in the beginning," said a less charitable Freiha Altaf. "However the 'Vintage' line had too much of Saadia's design assistant Noman who has also worked for Nilofer Shahid so there was a bit of Nilofer."

Saadia disagreed: "As a principal designer my job is to bring the best out of my design assistants. I am 200 per cent involved. I don't delegate and just walk away. I don't think there was any Nilofer Shahid in the collection. She is much more traditional. The 'Vintage' collection was inspired by European jewellery and Victorian beading." Saadia's other design assistant Beenish who helped design the 'Vision' line is a graduate of the Pakistan School of Fashion Design.(PSFD)

Freiha further felt that in some of the pieces there was some problems with fitting and the cuts were a little askew. "Well some of the models refused to come for fittings when asked, which just shows their lack of professionalism," countered Saadia.

Other highlights of the 'Vintage' line included a dramatic bias cut high collared long front open navy coat worn with the right dash of mystery and hauteur; and an austerely Victorian turquoise and black bias cut fishtail gown with train and puff sleeves. Tooba's red capris with lace trim, however, looked a tad bit grandmotherly while Alina looked dramatic yet stiff in a pearl brooch halter blouse worn with a sari embellished with heavy crystal work and sequins.

I adored Neha's ocean blue-green heavily embellished trailing shantung gown. It exuded classic simplicity. Although ornate and bejewelled, it was tempered with a simple monotone neckline. Saadia managed to temper her urge for glitzy accoutrements and create an easy equilibrium. According to Tapu Javeri, Lahori model Alina in a deep plum sari with the precious turquoise border worn with the jewel choker neckline and the decolletage baring lace bra top reminded him of Maude Adams in 007's 'Octupussy.'

"I was very impressed by the entire collection especially the opening entrances," said Faiza Samee. "I also believe in short collections (alluding to the 32 pieces as opposed to the usual 64). The clothes were very well cut and presented, not too over the top and with not too much drama. I particularly liked the light blue floral piece worn by Tanya (a colour spectrum reminiscent of Faiza's own palette). I also liked the use of Svarovskis and the lace capri pants. Very original. Saadia will eventually find her feet while continuing to experiment," she added.

"This is the best collection I have ever seen in Pakistan whether people agree or not. If they don't, they are just jealous," announced a genuinely enamoured Farida Qureshi. "The Chantilly lace bustiers were beautiful. I loved the beiges, khakis and coral colours that were used. The cuts were beautiful and I liked the western element."

To offset this almost pivotal collection Saadia sourced the deliciously slinky handiwork of Miami Arts College trained hand bag and accessories designer Ali Fateh who provided perfectly coordinated and eye-catching clutches and bags for the 'Visage' label. Jewellery inspired by Serpentine Victorian pieces from the 'Visage' label added the final flourish to the Saadia's 'Virtues' Collection.

"The 'V' business (the 'Virtues' umbrella encompassing 'Vanity', 'Vintage' 'Vision,' 'Voyage' and 'Visage') was always on my mind and I began working on them one by one in 2003," Sadia explains about the genesis of her myriad of lines. In July 2005 she opened the doors of her fashion house located in Lahore's Gulberg area. Future plans include opening an outlet in Dubai by the end of 2007 primarily for the pret market. With her background in textiles, and "having too many contacts" Saadia is also seriously contemplating developing her own fabric line."It's sometimes very difficult to find fabrics that clients want. Armani develops its own fabric." These days she loves the work of Roberto Cavalli. "I like his craziness. His clothes are just unbelievable," she says.

About the support from Karachi designers, she says: "I think it was great that Karachi designers came out and supported me. Each designer has their niche market and it was nice that people got over their personal issues so that we can now finally all walk forward as a cohesive fashion industry."

The Man from Paris

by Zurain Imam

One gleans a lot about Punjabi, Paris-based fashion designer Mehmood Bhatti by paying attention to him speaking in different languages. His belligerent nature comes across when he barks in simple Urdu to the hotel operator complaining about the air-conditioning. His savoir faire is felt when he speaks to a Parisian friend over the telephone in faultless French; while his almost innocent persona bubbles when he speaks to me in his almost painful English.

Much has already been documented about Bhatti's almost Dickensian rise from "a not privileged life" in Lahore to the epicentre of the fashion capital of the world: Paris.

After graduating from Government College Lahore in 1977 he winged it to Paris to study for a MBA degree "without any money. I had zero times zero times zero money. I slept under the Metro. I looked through the garbage for food." However, he soon found employment at the now defunct retail boutique 'Mages', first as a cleaner, then a packager, working his way up to become a gregarious salesman. He knew he had the gift of the gab and street smarts, and in three short years he opened his own retail outlet in 1980.

 Hence this trip to Pakistan. Bhatti is visiting, first to touch base with his somewhat cloudy, impalpable and decidedly unembraced roots, but also to prepare for a three-city fashion tour to celebrate his 25 years in fashion, an event that will culminate with a large party in Paris.

"I will return on March 13, 2005, and will have a fashion show in Lahore on March 15; Islamabad on March 17, and finally in Karachi on March 19."

Bhatti will employ Parisienne cabines (runway models) with "hair and make up people and the choreographer also coming from Paris." All proceeds from the show will be donated to the 'Umeed-i-Noor' charity.

The past year has been quite an eventful and prestigious one for Bhatti. On March 23, 2004 Bhatti received the Sitara-i-Imtiaz, the highest honour bestowed to a civilian. "I felt very good receiving this honour. It was a very important milestone for me. You receive it once but it stays with you for a lifetime. It has given me the incentive to work even harder for and in Pakistan." He has already embarked on a slew of charitable endeavours in the form of creating scholarships at the National College of the Arts (NCA); three in the Fine Arts department at Punjab University; and one at the Pakistan School of Fashion Design (PSFD).

"The Minister of Commerce, Humayoun Akhtar, suggested I open up a fashion institute in Pakistan and this is another of my long-term ventures. I would employ foreign teachers trained at ES Mode (a prestigious French fashion school)." Bhatti also remains an Honorary Investment Councilor of Pakistan in France.

Much of Bhatti's early life has been documented in his autobiography, 'Paris Mein Doosra Janam' ('Another Life in Paris') and the docu-film 'La Verite Si Je Mens' ('The Truth If I Lie').

"My second autobiographical book will be published very soon."

What does this second tome include? "It's a secret. If I tell people what it's about then no one will want to buy it," he laughs. It may, however, include episodes of the downward spiral and final dissolution of Bhatti's 13-year marriage, four years ago, to his US born, Native American wife, Denise, a former Chanel model.

"We're still very good friends. She lives in the US and still works in fashion," he explains. "But I don't ask her too much about her new life." Mehmood and Denise have two children; a 14-year-old son, Shiraz, and a 10-year-old daughter, Alicia. "What I liked about my marriage was that my wife was very involved in my fashion business. I don't like the concept of Pakistani marriages where parents arrange for two people to get together to share intimacies without really getting to know each other intellectually beforehand. It's very important for couples to work, holiday, and have fun together."

So is a second marriage on the horizon? Perhaps this time someone from Pakistan?

He muses and then replies, "I don't know."

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Bhatti feels there is hope in fashion for Pakistani trade. 'This year's international fashion trend is influenced by Pakistani style,' says Bhatti, meaning subcontinental fashion. 'Even Christian Dior is doing 'kurtis' and 'pajamas', and hand embroidery'

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Anyone significant in his life? He laughs and noticeably blushes, especially when he is reminded of tabloid reports of his involvement with Lahorite film actress Resham. "I know her very well. Perhaps she loves me, but if she does, then why doesn't she tell me," he banters mischievously. "She's a good person," he finally says, but betrays his secrecy when he adds insistently, "I don't think Resham is in love with me."

The 'Bhatti/Paris Fabricant Pret a Porter Feminin' franchise now employs 600 workers and exports to 43 countries (interestingly, Bhatti also turned 43 this year).

Bhatti is aware of the fickle and meretricious nature of fashion, being an astute businessman who has in recent years also ventured into the property business in Paris as well as in stocks and shares.

Does he view himself as a retail czar or a fashion designer, having never received any formal education in fashion design himself. "I think receiving a fashion education is very important but I myself learnt on the job. I employ designers but I am very involved in the final stages, with the finishing and the fittings," he explains. In the stringent climate of the World Trade Organization (WTO) Bhatti feels Pakistan will face almost annihilating competition with China. But he feels there is hope in fashion for Pakistani trade.

"This year's international fashion trend is influenced by Pakistani style," he says, meaning subcontinental fashion, but eschews to mention India out of a growing patriotism. "Even Christian Dior is doing kurtis and pajamas, and haat ka kaam (hand embroidery)."

His own ode to his Pakistani roots is evident in his Spring/Summer 2005 collection which is "very inspired by Pakistani style with canary yellows, shocking pinks and parrot greens; different types of motifs and embroidery, and variations on the kurta." He says he sources a lot of his material, specially cotton, from Pakistan but prints in Paris and says the quota these days is beneficial for Pakistani exports.

Does he have any friends in the Pakistani fashion industry and does he feel it is possible to forge and maintain friendships in this often skewed milieu. He feigns ignorance, not even acknowledging that he has heard of them, when I mention some leading lights of the Pakistan and especially Lahore fashion scene.

He feels the fashion scene in Pakistan has boomed with many dubious types claiming to be designers, models, fashion photographers and journalists. "Some of it is good and some of it is bad. Not everyone is a real fashion designer," he says worryingly.

This is the paradox of Bhatti. A son of the soil transposed to a different glittering universe, earnestly claiming to be patriotic by returning to his roots, but simultaneously refuting recognition of those very cords with an almost Parisian hauteur. In the past, the press has also highlighted Bhatti's disdain for the national costume of Pakistan, the shalwar kameez. Why this aversion?

"I love the shalwar kameez," he counters. "But women need to wear them with belts otherwise they let themselves go physically. If you're not fit fashion is useless," he says matter-of-factly and with the tone of the aesthete and pernickety fashion designer.

He says he does not know the names of any Pakistani fashion model and recollects a "model-cum-actress" (Aaminah Haq) who had come to Paris to make a drama serial and who told him "she was one of the most famous models in Pakistan. "Again, nice face but short. I actually mistook her for the make-up girl."

He must at least have 'fashion friends' in Paris? He mentions Valentino and Hugo Boss as dinner mates and quite incongruously Christian Dior. Either he is understandably very tired and just threw a name offhandedly, or he meant dining with Christian Dior representatives. Unless, of course, he holds dinner seances with the ghost of Christian Dior who died in 1957, four years before Bhatti was born.

His favourite designers vacillate as frequently as the frenetically cyclical wings of fashion. "I like Prada, Gucci and Christian Dior. "In fashion you are never number one forever," he says and cuts short a discussion about fashion conglomerates.

His own personal favourite outfit on a woman, he says, depends on the woman. "Some women look good in everything while some may wear all the designer clothes in the world and look terrible."

He does have a penchant for a fit and beautiful woman in "beautiful flared pants, a beautiful sitara speckled blouse and a dupatta worn as a scarf or in a myriad variations." He feels French women are the most elegant dressers. "It is very important that women are stylish. I love classy women."

He has never ventured into menswear because he says he is a one man show, completely immersed in women's wear so much so that he wouldn't be able to control two empires. Nor is he interested in haute couture. "For me haute couture is dead. It's too expensive to stage those shows although I love to attend other designers' extravaganzas." He says he doesn't have a particular celebrity wish list of whom he might want to dress.

"It's better if someone likes my clothes and comes to buy it rather than me begging them to wear them," he says, seemingly oblivious to the annual worldwide designer/stylist/celebrity Oscar night playoffs, but adds that he frequently supplies his clothes to French TV personalities, singers and movie actresses.

A collection he has brought to Pakistan to shoot for his favourite Pakistani weekly includes an eclectic melange of East and West: a mocha and caramel chiffon off the shoulder dress with scratchy wool swirl curlicue braid motifs accentuated with bow. A Pushto-film-actress pink, shot satin tiered skirt adds humour to the collection when paired with a maroon sitara-speckled blouse. Grey denim jeans with a swirl of lace and broderie anglaise (chikan ) applique motifs, dovetail easily with black racing jackets.

His message to Pakistanis "Please look after your bodies and wear good fashion."

Bhatti says his life seems to be "une vie construe un peu de la verite" (a life based on a little truth). Perhaps his chosen oeuvre, fashion, and his March 2005 fashion triumvirate will give us a real insight into the hinterlands of his experience, psyche and soul. And to his sincerity.

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             Beyg 

                           &

         Bibi

                                 by Zürain Imam

"Any fashion designer isn't worth his/her weight in salt if he or she takes their own fashion too seriously. One should prod at it and be whimsical occasionally," says Pakistan's uber haute couturier Rizwan Beyg on the occasion of the Textile Asia 2005 International Fashion Show. He showed his Spring 2005 collection alongside Bangladeshi former uber cabine and print model turned 'Fashion for Development' designer, Bibi Russell at the show organized by Ecommerce Gateway and held at a distant golf club in Karachi.

Beyg paid full throttle homage to glamour-fueled, over-the-top Eighties decadence. "This collection was definitely retro," he says. "But it was about inspiration, not replication."

Rizwan Beyg is, of course, one of the pioneers of Pakistan's fashion industry. He is as renowned for his landmark first collection in 1989 as he is for his prestigious and glamorous clientele including the late Diana, Princess of Wales, the former Mrs Jemima Khan; Princess Sarwat of Jordan and members of myriad royal families. He has played an instrumental role in renovating two prestigious textile museums in Helsinki as well as reviving the Pakistani textile industry by utilizing the skill of local artisans for high-fashion embroidery. Beyg presently sits on the board of directors of the Textile Department at Karachi's Indus Valley School of Art and Architecture, and is a passionate and vocal advocate of Pakistan's textile and fashion industries.

Ecommerce Gateway's Kamran Saeed introduced the fashion show as a "side event" of the Textile Asia Exhibition organized by the Ministry of Textile Industries at the Expo Centre that encouraged trade promotion of fashion and culture. With a kitschy entry of supermodels Iraj; Vinny; ZQ and Suneeta Marshal to Madonna's 'Vogue' replete with dance hall-inspired vogueing, one instantly recognized Beyg's tongue-in-cheek stance; possibly even chastizing the recent upsurge of a 'fashionista' culture that follows fashion and trends blindly and without discretion.

"In this collection I paid homage to the '80s and created a radical new silhouette," he said. "In the first section I played with different lengths of the kameez which went from the floor all the way up to the waist." These included black-and-white, Rajistan-inspired embroidered short kameezes and long trailing black-and-white coats.

In the earlier sections, Beyg concentrated more on patterns and draping and minimized embellishment. With the impetus being 'radical chic' Beyg deftly deconstructed ensembles so there was off-the-shoulder, asymmetrical kameezes of varying lengths with hexagonal V backs, cowl necks and ruching embellished with dramatic raven feathers; and red, asymmetrical, one arm, layered handkerchief kameezes speckled with ruby crystals and rosettes. What were also innovative were the layered biased skirts that appeared like a hybrid between a skirt, trousers and lehngha and the return of the very '80s basic: the palazzo, as well as the Jodhpur-styled trousers cut high, medium and low.

Beyg's signature pallid Tarkarshi embroidered pieces that were hand stitched by village women and cut into asymmetrical shapes and worn with layered palazzos were ethereal and elegant. "The Hadanga and Tarkarshi embroidery is hand-stitched mostly by Seraiki women. I believe if one is a responsible designer one should give back to the grassroots community as much as one has received."

'A Midsummer's Night 'aura was created with the advent of festive and fresh tangerine and peach; and light crimson and tomato combinations of double-layered handkerchief kameezes embellished with rosette-like and delicate Chinese Garo embroidery redolent of ancient kimonos.

He interplayed Chinese Garo embroidery with Kashmiri aari ka kaam detailing exotic motifs of birds of paradise, peonies and butterflies. Also dramatic were the black-and-white crewl (kacha resham) sleeveless long kurtas and short kotis that seemed as they may have been inspired by Turkish carpet motifs; and the ultra-glamorous, opulent and made for St Tropez ponchos and capes in lilac and bubble-gum pink embellished with silver and Svorovski crystals and worn with layered chiffon bell bottoms that trailed slightly at the back. "This collection was about the return of the shalwar and the internationalization of the kameez," said the designer.

His saris were also lent a smidgen of experimentation with chiffon saris embellished with peach and verdant green embroidery or black pieces of floaty fabric accentuated by 'Secret Garden' floral-fern detailing and worn with seductive turtleneck blouses. Also "over the top" were the olive/lilac and purple/dark mauve crystal enhanced saris worn with sequin blouses.

"As this was a Spring collection I used a lot of floaty chiffons and layering and offered a whole range of silhouettes and lengths and over the top colour while experimenting and juxtaposing the embellishments in unique ways," Beyg said.

Bibi Russell's collection was inspired by her evocative and sincere mantra of "Painting a picture of beauty and dignity from the poverty." All of the fabric in Bibi's collections including sumptuous jamdani, sturdy khaadi, silks and cotton is made from handlooms that she has helped resurrect, employing countless village people.

What is so interesting about Bibi and hence her collection is the unique yet successful marriage between modernity and tradition: her prestigious fashion education at the London College of Fashion in the mid '70s and her glorious foray as a catwalk (cabine) model alongside such runway legends such as Pat Cleveland, Iman, Katoucha, Anna Bayle, Kirat and Jerry Hall on the catwalks of Christian Dior, Yves Saint Laurent, Karl Lagerfeld, Giorgio Armani and Kenzo; her 'Harper's Bazaar' cover shot by photographic great Eric Boman; the numerous automobile campaigns in which she "was draped glamorously on the cars as a prop but with a lot of presence and character"; counterbalanced by her great love and commitment to ennobling Bangladesh, the country of her birth, and its cultural heritage by reviving handloom woven fabrics and lessening the gap between the grassroots cottage industries and the larger textile and fashion industries.

Russell presented her collection, thoughtfully keeping in mind Pakistan's social mores so that it was quite conservative in contrast to Beyg's collection. The traditional gamchha was a central style motif and found itself in myriad head wraps on both female and male models, the latter who one must mention at this point this not embrace the clothes but instead remained stiff and uninspiring. "This is the first time I am presenting my collection in Pakistan at the invitation of Ecommerce Gateway and I would like to thank Khurshid Nizam and Abdul Hannan, the Bangladeshi Deputy High Commissioner in Karachi who have both been very supportive," Russell said. "I don't show in Bangladesh what I show in Europe as the markets are so different but people know that as a designer I can do western clothes," Russell said. "I try to adapt to the country I am showing in. For example the crochets that I am showing quite conservatively here in Pakistan or Bangladesh I showed on blonde German girls in short peek-a-boo versions."

Russell is an intelligent and tactical designer who observes international style trends. "International designers are working with bold colours and shapes and aren't so involved with elaborate embroidery which just makes the prices sky rocket. I used daring colours and little or no embroidery," Russell said. Some of the iridescent colours Russell used included tomato red seen in head wrappings; fused acid green seen in a men's sherwani-like kurta; bronzed gold seen head to toe in a jamdani upturned men's kurta and Nehru cap;  and lime green in a silk jamdani wrap worn Jungle goddess style by Amazonian supermodel Iraj. Russell's wraps had an international flavour and were almost reminiscent of Issey Miyake especially a dove grey mesh men's kurta. "Body wraps are really en vogue and can be worn in so many ways: as minis, as a top with silk trousers or with halter necks and even worn simply with a T-shirt." Other style elements included tomato red crochet tops speckled with delicate crystal sequins and lavender blue and purple front open crochet tops enmeshed with dainty bows and ribbons.

Another highlight of the collection was the sheer men's kurtas worn with sensual undershirts and motiffed with dull gold diamond shapes and worn with hot pink jamdani shalwars. A kaleidoscope of colour; fern, floral and starfish motifs on myriad pieces and a variety of handwoven fabrics ranging from sumptuous silks and jamdani to basic cottons gave the collection a rich, textural and organic aura that perfectly melded modernity with tradition."You will see me again," Russell promised at the end of the show choreographed by Imran Kureishi.

Mussarat Misbah of Depilex created apt make up looks, both glamorous and ethnic yet modern, while the two enfant terribles of the Pakistani fashion world Beyg and Kureishi "had a hoot choosing the kitschy '80s numbers that ranged from Madonna to Duran Duran and The Bangles."

               The 'N' Factor

                             by Zurain Imam

             
"We were very apprehensive about coming to Karachi and didn't know what we were getting into," said Nickie Ali during the recent launch of the first Nickie & Nina boutique in Karachi on main Zamzama.

"However all the Karachi designers have been very helpful," added Nina Junaid, Nickie's design partner and sister. "I think the very fact that Rizwan Beyg, Bunto Kazmi, Amir Adnan, Faiza Samee and Deepak Perwani showed a gesture of welcome and repeatedly offered assistance was very sweet. I think everyone was genuine," she added.

Other guests and supporters who packed the 700 square feet space — designed by Umer Rauf of Subculture — included Mahnoor Baloch, Maria Wasti, Atiya Khan, Adnan Siddiqi, Haroon and Ayesha Toor, Amir and Huma Adnan, Shayainne Malik, Imran Kureishi, Umar Sayeed, Mohsin Sayeed, Arshad Tareen, Tazeen Hasan, Nomi Ansari, Usman Dittu, Nadia Hussain, Shaheen Saeed, Rubab and others.

The low-ceiling, softly-lit boutique space was decorated with flower arrangements using imported lilies, chrysanthemums, freesia and roses from Lahore, artistically blended with artificial flora. The boutique has a space for private bridal consultations and an amply sized mirrored dressing room with a sitting area. The launch was organised by Qasimyar Tiwana.

Models who wore Nickie & Nina at the event included Rubya Chaudry, attired in a seas moss Grecian three-tiered deconstructed and frayed ensemble; Fawzia in a Chinese red sleeveless; Gia Ali in a baring blue grey concoction; Sophia Khan in a lightly embellished yellow block print piece and Sunita Marshall in a salmon number with fern-like turquoise lining speckled with diamantes. All the models were happily allowed to keep the outfits that they had chosen to wear.

Nickie and Nina say they like to use Pakistani fabric like chiffon and light silks for summer. One of the strongest collections was the white one using a combination of pure and raw silks, chiffon and satin, inspired by ethnic kundan jewellery juxtaposed with modern crystal motifs. Collar shapes included halters, deep V's and Nehru. Another strong capsule was the noir, Mexican inspired pieces with their use of chunky beadwork and turquoise embellishments.

Ancient motifs melded onto slim modern silhouettes and both long and short shirts created a sophisticated aura. "Black and white is our favourite colour palette as is orange and yellow, although we haven't brought the latter to Karachi. We have used both very short and very long shirt lengths using slim cuts paired with Capri pants. In Lahore, girls didn't wear short shirts for a very long time," says Nickie. A fawn collection was lent drama with a colour burst of soft pink and fuchsia Japanese blossoms created with strips of organza and ribbon. A traditional Parsi gaara was given a modern twist using the gaara border and combining it with single taar, thread and crystals.

There was also a smattering of pretty and demurely ethnic, brightly hued block prints embellished with sequins, turquoise beads, kundan and crystals. The designers say that they don't want to change nor downplay their signature slim silhouettes and bling embellishment. They feel Karachites will enjoy the change that they offer. "We want to work at our own pace," says Nina. The design duo, who began their careers 12 years ago, initially only creating deep-hued and pastel bridal wear and evening wear by appointment only, began their prêt line in 2004 with the launch of their first boutique on Lahore's upscale M.M. Alam Road.

Nickie and Nina both say that their signature is all about the silhouette and admit that they find designing for the predominantly pear-shaped Pakistani woman challenging. They feel they can't experiment as much with cuts as they would like to but are able to let their freak flag fly with their couture pieces and embroidery.

"People who are known to be stylish know what they want," Nickie says. Some of the label's clients include film actresses Meera, Resham and Reema. "We also designed a wardrobe for another prominent client, Dr Maliha Lodhi. It was a pleasant challenge designing for her as she is a diplomat and tends to dress a bit more conservatively."

The sisters had a show in Jeddah in May 2005 for the royal families. "It was a lot of fun as we were allowed to go over the top," said Nina.

Nickie & Nina have held shows in Bombay and Delhi and were excited when Indian couturier Rohit Bal came backstage to look closely at their clothes and then encouraged his own clients to buy Nickie and Nina. "J. J. Valaya was also very encouraging," added Nina. Upcoming exhibitions for the duo include stints in New York, Houston, Chicago and London for their prêt eveningwear.

The busy pair is also planning a fashion show in Delhi using Indian models and a show in Dubai in October 2006. "We just want to sit in our shells and work," says Nina "But we are also quite involved in the Pakistan Fashion Design Council. I think creating a fashion council is a very positive step. If all the designers who are doing great work with beautiful workmanship get together, we will soon receive international recognition."

The delightfully elegant sisters say that the Nickie & Nina woman can be trendy but has to always be classic. "She can be experimental and welcome change which is positive, but she always has to retain an air of classicism," says Nickie stoically. And a final tip for Pakistani women? "Everyone interested in dressing up should keep in mind their own figures when picking out an outfit," Nickie and Nina both agree.

What the leading fashionistas have to say about Nickie & Nina.

Imran Kureishi: "The clothes are fabulous and beautiful, understated and well priced. It's great that we are seeing designers coming out of their bedrooms and garages and going to other cities."

Amir Adnan: "I love the shop. It's nice and glittering, upbeat and hip-hop. They are lucky to get such a prime location. The best thing for them is that the welcome from Karachi designers has been overwhelming which just goes to show that they are welcome here. They should become ambassadors to bridge the gaps and biases between the two cities."

Huma Adnan: I think their workmanship will be liked by Karachites. Their cuts are appealing and their choice of fabric is nice. They should have opened their store in Karachi long ago."

Maria Wasti: "I think Nickie and Nina opening here is great. I am enjoying the colour and cut of the outfit I am wearing and it's very comfortable to wear. I think Karachiites will love what they do. They should have come earlier as their clothes have the distinct flavour of Karachi.

Nomi Ansari: Their fabric choices are perfect for Karachi. To me the colour choices are also perfect for Karachi and summer. The clothes are nicely cut and stitched with elegant well placed trimmings. And I think the clothes are also very well priced."

Sunita Marshall: "The clothes are very comfortable and great for dinners and even day wear. The collection is very different. The outfit I chose has delicate threadwork which makes it a perfect prêt/rtw piece. I think the pricing is not bad as you're also paying for a designer label."

                           Paradise Lost

                                         by Zurain Imam

 It's become somewhat of an anomaly to go to a Pakistani fashion show and expect to feel excited and energized. More often than not, there is a gargantuan attack on one's sartorial, conceptual and aesthetic sensibilities. This unschooled crassness which makes one both smirk and cringe simultaneously usually manifests itself most often when a fashion show is presented in collaboration with a product launch.

So was the case with the Karachi launch of a 'new and improved' version of a hair removing cream followed by a fashion showing of 'new collections' by Karachi-based Nomi Ansari and Lahore's Karma. Since Nomi has recently opted to publicly support and join the nascent Lahore-initiated fashion council whose other members include Kamiar Rokhni, one-half of the label Karma, it was interesting to see the two designers together on one unruffled platform.

Like all the au courant events, this one, too, was inaugurated with the ubiquitous 'red carpet' which has become quite a wannabe phenomenon as a whole, especially if the 'celebrity quotient' is at a minimum as it was with this show. Most of the audience was peopled by women who looked like they might be customers of the product in question; and a smattering of front row 'celebrities' including Aijazz Aslam and Humayun Saeed without their respective wives; choreographer Imran Kuresihi, actress/models Aisha Toor and Rubya Chaudry.

A pre-show cocktail hour under a dusky Kashmiri pink canvas tent, in which guests were feted with milk shakes, tea and coffee and bland prawn hors d'oeuvres segued into a scripted introduction by socialite/actress Sanam Agha who made very little eye contact with the audience and boring multi-media presentations by marketing representatives. A poor sound system interrupted this lacklustre interlude and not even 'Veet' girl Katrina Kaif on the large screens could save these hiccups.

Show producer and choreographer Freiha Altaf conceptualized the presentation/fashion show as a 'Forbidden Garden' and one couldn't help being prejudiced about this maverick manipulation. The pre-fashion show mime performance by the Oops! troupe was posited as the battle between 'Good' and 'Evil' with Lahori model Daniyal and a svelte Gia Ali acting as Adam and Eve, respectively. A bald and rancorous looking Omar Butt acted as the luring devil who, in an exercise in tacky marketing ploydom, represented "commercialization and the harmful products that plague women."

Model/actor Naeem-ul-Haq reprised his role as a good angel (also seen in Ali Azmat's 'Na Re Na') and did an Actor's Studio worthy performance, perhaps representing the company as he guided Gia and Daniyal towards life-size rose pink and apple green boxes of the product in question. Both Daniyal's and Gia's Eden-inspired leaf ensembles looked like the type of cheap, plastic outfits a Hula girl would wear on a less than par Hawaiian cruise boat.

One was almost offended that such a hallowed tale as Adam and Eve's banishment from the Garden of Eden should be reworked artlessly for the sake of crass commercialization. One almost pities our paltry few choreographers when they are 'forced' to follow the brief of their clients and try to find creative and tasteful ways to merge commerce, art, entertainment and fashion. The two young supernova designers were also told to follow the theme of Good versus Evil and each chose to express this dichotomy individually, either through a gradual variation in colour, or modification in silhouette.

Nomi Ansari, famous for his use of bright and vibrant neon colours, chose to play with both variants. "I had a lot of fun doing this collection. There weren't the usual restrictions of straight-laced shalwar suits or bridals. However, I couldn't be too avant garde as I have to sell," he said. Nomi said he cherished the fact that he had an opportunity to work with different silhouettes and textures and mix and match colours. "With this collection there was more of an emphasis on western silhouettes with skirts, bustiers and jackets juxtaposed with Eastern ensembles like sherwanis and saris. I also paid attention to the styling and used butterfly brooches as adornment."

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Like all the au courant events, this one, too, was inaugurated with the ubiquitous 'red carpet' which has become quite a wannabe phenomenon as a whole, especially if the celebrity quotient is at a minimum as it was with this show

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The collection was inspired by 'desire, romanticism and myth' and began with an electric slew of neon lime that included Tooba in a lime sari with a '40s striped, cupped bustier and Sunita in a plush green long flute skirt worn with a bow-embellished silver top with net inlay. Nomi describes his shalwars not as merely patiala anymore but "part MC-Hammer part harem and part cowl and made with crepe and chiffon."

This was evidenced in a tamarind yellow variation worn with rhinestones by upcoming super Fayezah. Nomi also created an ultra-modern silhouette with slit capris, especially the silver chun chun tasselled slit capris that were paired with a fitted lime green jamavar sherwani worn regally by Nadya Hussain. Nomi then moved his colour palette to pinks with Vinny in a short sleeveless kameez and cowl shalwar and Maha in soft pink polka dotted slit capris with circular gold embroidery. Lahori model Mehreen Syed vied for attention in a soft bubblegum-pink sari worn with a spangly rhinestone encrusted blouse. Tanya Shafi looked boho-elegant in a spangly kaftan sleeved top worn with an oversize Patiala shalwar.

The mood and colours became more darkly decadent as a supremely confident and gorgeous Eman Ali strode onto the triangular runway that was festooned with floral arches, vines and caged parrots in a burnt sienna Patiala shalwar worn with a cafe au lait sleeveless top embossed with spangly and glistening emerald sequin work.

Another model looked elegant in a gold jamavar long flared flute shaped skirt worn with a Mandarin collared top. "I used chocolate brown as my base dark colour as it is very much in fashion these days," explained the designer. This colour choice manifested itself in Rubab wearing chocolate brown slit capris worn with a spangly brown top with emerald work and oversize pink flowers and accessorized with a long strip orange dupatta.

Vinny looked elegant in a flowing chiffon pin-tucked skirt with applique flowers worn with a black and pink spangly bustier. Gia Ali, who said she later missed another beautiful sari entrance because of poor backstage management, more than made up for it in a dramatic red bordered black sari with silver gilt work. Tanya made a dramatic entrance in a beige fitted short opera coat with oversize collars worn with a panel skirt which had floral chiffon as an inlay. "I draped this jacket and it has a couture quality to it," Nomi said.

Karma's collection was buoyed by glamour, glitter, sparkle and shine and worn by goddesses who "embody fashion." Karma also used retro jamavar seen in a lime green gharara with turquoise paisley embellishment and a sand-beige Patiala shalwar worn with a dove silver top and dupatta. Vinny looked soignee in a jamavar gown worn with an oversize opera shawl.

Standouts in the eclectic collection included Sunita Marshall in a short asymmetrical top that was embellished with long multi-coloured ribbon-like mesh strips and worn with black culottes. Tanya also looked ravishing in lime silk trousers worn with a one-shouldered asymmetrical poncho embellished with gold work with a lime inlay. Rubab elegantly sashayed a satin burnished orange and pink ombre (tie/dye) high yoked A-line flared top that was worn with emerald culottes. Eman stole the show in a black three-layered chiffon skirt and trumpet sleeved top brandished with a dramatic embroidered blue obi sash.

Another bold ensemble was a black kaftan-shaped poncho with an oversize Native American print worn appropriately by amazon Nadya. Karma also let their freak flag fly with their oversize gharara-cullotte hybrid and overly long dupattas. Gia looked cutesy and garnered appreciative shouts from Humayun Saeed as she traipsed onstage in an asymmetrical pink baby doll top worn with black trousers. Nadya's heavily embroidered black velvet blouse that was worn with a Rajhastani pink sari, Parsi style, was an interesting ethnic mix.

However, one wished that both designers had worked on more specific capsule collections rather then their frenzied amateurish experimentation, although this writer really liked the myriad skirts that both Nomi and Karma crafted, especially Karma's final piece, Iraj in a sparkly cafe au lait skirt with a spangly silver top.

"For once the clothes fit perfectly and flowed beautifully without the use of pins," said Vinny.

The choreography which Freiha described as "old as the world and desi" helped the designer's presentations. "The formation of all the models coming out in one go, and then doing single walks helped Nomi who showed eight lime green, eight pinks and eight chocolate brown ensembles," she explained. "So you immediately saw a wash of colour which also helped the concept."

She said that Karma preferred to exhibit individual, show-stopping pieces and so there was only a group formation at the outset and then only solo entrances." What also might have added to the show's ebullience was the magic of veteran fashion show make-up whiz Tariq Amin who finger scrunched some of the models' hair and gave them polished, full-of-health visages. The flower arrangements were by Batul Haji.

"My brief from the company that makes Veet was very clear," said Freiha. "As it was the launch of an A-plus product, they wanted supermodels, good fashion with variations in colour that matched the concept and a good crowd." It was a pity then that the fashion was tainted by an air of concept-contrivance that even a good angel could not wish away.

                 LSA 2005: On the Red Carpet

                              by zurain imam

The 2005 LSA red carpet (actually a geometrical red print) was awash this year with an avalanche of experimentation; fashion faux pas and some glorious and elegant style statements. Many of the young 'it' girls chose brash Lahore label Karma who are undergoing a traditional reawakening. These included model/actress Sadaf Pervaiz in a black short shalwar kameez with circular pink and gold curlicue spangles; Lahore model Maliha Naipaul in a Chinese-red off the shoulder asymmetrical shalwar kameez with gold spangles; IM VJ Anoushey wore a green ensemble while IM's Cafe Current girl

Anisa wore a youthful and bubbly earth coloured ensemble. MC's (as Maliha is called) business partner Amina Kardar wore a simple outfit by the duo's label, AM Accessories.

Variations of green seemed to be part of many of the red carpet participants' ensembles. Lahore model Rachel looked elegant and statuesque in a dark parrot green and gold sari by designer Mehdi while the runway alighted with the entrance of a triumvirate of gorgeous green apparitions. The trio was made up of Sheikh Amer Hassan dressed in his own suit and accessorised with a dark lime green tie and pocket square accompanied by best model nominee Neha dressed in an acid-fused dark lime green, Chinese-collared ensemble by Nomi Ansari. The threesome was end noted by Begum Nawazish Ali dressed in a "specially made" dark lime green sari by Deepak Perwani. It seems this posse carefully colour coordinated their entrance.

Nude, camel and caramel were other popular colours. Model Amina Shafaat chose a camel and silver speckled shalwar kameez which she designed herself. Blonde, blue-eyed glamour puss Babra Sharif wore a frothy light caramel deconstructed chiffon petal ensemble by veteran minimalist Maheen Khan who accompanied Babra and film actress Meera, the latter wearing a chiffon camel fleurette smothered ensemble by Tazeen Hasan. A solitary Reema chose a demure floaty fawn ensemble worn with a chiffon overlay smothered with geometrical chiffon pieces by Ather Hafeez.

Classic noir (black) was also a popular, chic (and safe) style option favoured by some of the country's leading designers. Fashion designer Sanya Muneer looked chic in a black blouson poncho from her own label accentuated with a rhinestone clasp. Fashion designer Imrana Ahmed looked soignee in a black sari with a white broderie border by her own label, The Body Focus Museum. Maheen Khan, who entered with Babra and Meera and humbly commented that she was "getting famous being photographed with these gorgeous women" wore her own clingy spangled halter top and tunic "suggested by stylist Mubashir Khan" who also did her hair and make-up. Maheen looked beautiful, modern and 'killer-sexy'; everything a timeless designer should be. Rizwan Beyg wore a black Kill Bill-esque embroidered cheong sam-inspired kurti of his own design.

Film actress Resham who has lost her svelte figure covered herself up in a black Umar Sayeed sari with contrasting white embroidery. Zainab Qayyum was lazy chic in the Deepak Perwani black pinstripe suit she wore in the Ali Zafar Rangeen video and LSA performance, while Sahira Kazmi looked elegant and comfortable in a black Farah Leghari ensemble motiffed with silver embroidery. Pop star Ali Zafar attempted an elegant YSL Le Smoking look in a black Ammar Belal tuxedo jacket with satin detailing, but made a fashion faux pas by pairing this with bare white skin, a look more appropriate for a chic older woman.

On the other side of the colour spectrum wearing white, ivory and dove were model-actress Nadia Hussain accompanied by her Lawrencepur-clad husband Adnan, in a divine white, bias-cut heavily seamed toga by low-key but brilliant designer Fayez Agariah. Former model and sufi mystic Atiya Khan (now known as Fatima Sultana) wore an ivory bridal Rizwan Beyg ensemble and looked like Beyg's muse with a dupatta placed delicately on her head. TV One red carpet host Natasha Hussain (Nattie) looked simple and ravishing in a pure white shalwar kameez with delicate beading by Sanya Muneer. Lux girl Iman Ali wore a gorgeous ivory, silver embroidered long sleeved ensemble by Umar Sayeed. With her hair backcombed and with perfect make-up, she was one of the best dressed and well turned out celebrities on the red carpet.

Gohar of Jal wore a slick white suit, virgin white shirt and crystal encrusted tie by rising star Munib Nawaz while the rest of the band, Farhan and Shaizi wore their own low key clothes. Singer Najam Sheraz was swamped and dwarfed in an oversize off-white sherwani accentuated with mother of pearl fabric rosettes. Black might have looked better and leaner.

For some reason all the red carpet participants who chose varying shades of pink sunk and stunk. Lux girl and actress/director Aaminah Haq looked like a theme park Cinderella on acid with tawdry red highlights wearing a dusty pink pin-tucked taffeta gown by Paris-based designer Sadaf Malaterre, and jewellry by Tapu Javeri. Her delirious campaign smile and stare didn't help. The usually well-turned out model/actress/socialite Sanam Agha wore a rather garish Sarah Arshad Gilani dirty pink ensemble with a special Chanel-inspired bow on the back. Freiha Altaf wore a revealing soft peachy pink off-shoulder satin dress by Deepak Perwani accentuated with diamonted rhinestone clasp accessorized with a vintage faux '40s necklace. Glamorous yet perhaps not age-appropriate.

Fuzon (Shallum, Immu and Shafqat) were dressed in varying shades of the 1960s teddy boy pink and salmon ill-fitting suits by Munib Nawaz who usually does it better for the band. Actress Veena Malik wore a dark maroon Ather Hafeez fitted ensemble while her consort, Arbaaz Khan (not to be confused with Salman Khan's brother) wore his own clothes. Annie from Shehzad Roy's Sali video wore a delicately embroidered earth-coloured Sadia Mirza ensemble.

Best female model winner Vaneeza Ahmed who arrived with Umar Sayeed, wore a blood-red sequin smothered halter-top with chiffon sleeves paired with a voluminous bias cut gown made of 600 yards of ivory chiffon and organza. With perfect make-up and a sleek high pony, she looked divine. On the other hand, newbie model Zhalay Sarhadi looked tawdry in a red and black (a big fashion no-no) Amina Yasmeen ensemble by Mansoor Akram.

Lahore model Misha looked individualistic and free-spirited in a gypsy-like peasant blouse and a brightly coloured horizontally striped long skirt by Mehdi and lots of her own bead necklaces, while model/actress Tooba chose a simple Tazeen Hasan ensemble and Lahore model Nadia Malik looked very conventional in classic Umar Sayeed.

Other style winners included Farishteh Gaiti-Aslam who exuded elegant ease in a silver embroidered turquoise poncho by Rizwan Beyg and socialite Zahida Habib in an embroidered kurti by Umar Sayeed. Huma Adnan, wife of Amir Adnan, looked ravishing in a gorgeous black and swirly multi-coloured sari by Indian designer Satya Paul. Perhaps while attending the LSAs she should have chosen a Pakistani designer.

The men of the LSA red carpet came in a kaleidoscope of looks and hues. Waqar Ali Khan wore head to toe Tommy Hilfiger including an eye-straining, psychedelic tilted fedora. Shahzad Raza chose to mix it up in a Umar Sayeed shirt, Armani jacket and Roberto Cavalli shoes while photographic partner Ather wore an elegant Paul Smith suit.

Best male model Emmad wore a black suit and open shirt by Lawrencepur whose campaigns helped him won his coveted award. ABCD designer Ammar Belal who won the 'best emerging talent in fashion award "thought out of the box' and wore his label's custom designed jeans motiffed with Kiss (the band) memorabilia and other sequined logos, a navy jacket and a brightly coloured striped scarf. He was accompanied by his very glamorous mother Samina Belal in her own elegant dress.

Deepak Perwani wore his own dark suit and embroidered shirt and arrived with his glamorous looking mother. Designer Nomi Ansari with straight blow-dried hair wore a suit by Spanish label Zara while photographer Tapu Javeri wore a suit by Deepak Perwani and an eye-catching tie by Indus Valley student Mirza Malik. Master of Ceremonies, Shaan, wore a nondescript dark navy long coat while singer Atif Aslam wore a red shirt, black pants and tie by Shahbaz Aslam, an upcoming designer.

Director Aliya Imam deserves a special mention with her 'kookie' fashion in a tight spaghetti strapped dress and two top ponytails. Bold and bizarre.

             The State 

              of                                                Fashion

                                   by Zurain Imam

Writing about the state of Pakistani fashion for this space makes this writer a sitting duck for an avalanche of criticism.

Not one to present myself as the perennial fashion expert, analyst, critic or as fashion model Aaminah Haq once called me: "An Anna Wintour wannabe", I prefer to be an objective observer and fashion junkie — someone who wants to give up one's odious interest in fashion (because it's too frivolous, political and "it's only clothes for Dior's sake!"), but just can't. The addiction is too ingrained and fashion is probably the only 'art form' that can simultaneously both excite and relax me (it also camouflages many deep-rooted insecurities).

In my opinion, what good have most of our leading fashion models done for the service of humanity except rake up large amounts of money for themselves and controversy and notoriety? Like Christy Turlington who became a spokesperson for the American Lung Cancer Association, our models could find a cause close to their heart and become more visible publicly responsible individuals


My exposure to the ornate shalwar kurta while growing up in England came every Eid or other Pakistani-related events (since then stars such as Jennifer Lopez and Nicole Kidman and the late Diana, Princess of Wales have made public appearances in the female version, the shalwar kameeze, both for its comfort — it fits you without strangling you; versatility — the shalwar kameeze is good in just about any weather; and elegance — the wearer is bestowed with graceful feminine charm).

At the time, designer wear in Pakistan did not have mass-market appeal and the general populace was still conservative, still reeling from the emasculating Zia regime. But there were still quite a few who wanted to shake up market dynamics and those are the fashion people who have survived and blossomed: designers Khalid Sayeed of Alter Ego (since emigrated) Maheen Khan, Mrs Kazmi, Rizwan Beyg, Faiza Samee, Shamaeel, Imrana Ahmed to name a few and the stylists and photographers who helped them to sell their product while simultaneously building up their own careers, the unholy triumvirate; the Crown Prince, Queen and Duke of Fashion, the three style sibyls: Asad Baig, Nabila Maqsood and Tariq Amin (listed in alphabetical order).

But who were the Pakistani style icons and fashion figures who emerged after 1947 that these fashion leaders were inspired by? Amin has said that one of his idols was the late drag star Divine; Maqsood says she does not get turned on by Anarkali or film actress Resham but does so by Madonna and Boy George; and Baig does not look up from his copy of 'Vogue' magazine for anyone less than Gaultier and Turlington. It seems this trio who receive many opportunities to work abroad trudge along in Pakistani fashion for family reasons and because of having invested too much time and money already, although Amin seems to embrace Pakistan more so than the other two. What does this say about Pakistani fashion when its leaders show such apathy and even disdain? Not much.

Fashion designer Rizwan Beyg has cited Aunty Nachi and the women whom he saw dining at Sindh Club during his childhood as early women of style and inspiration (personally, I always found Begum Raana Liaquat Ali Khan with her flouncy ghararas a huge style icon — reinterpreted delightfully in the past by Nadya Mistry - as well as the late, lovely '60s model Fauzia Hai). I think Rizwan Beyg has always felt the pulse of the zeitgeist and moved accordingly, albeit a tad bit slowly. His pursuit and expansion of lawn prints is an attempt to reach a wider audience who cannot afford designer wear but feel good about wearing something created by an haute couturier. Beyg is right when he says that if he cannot reach the middle classes he has failed as a brand name designer. Even the most haute of the haughty international fashion czars, the pony-tailed fashion giant Karl Lagerfeld who has designed for Chanel Couture, Chloe and for his own two labels was hired by high street magnus H&M to design a low-priced and accessible Spring Summer 2005 collection for them.

Amir Adnan who began with designing quirky ties has been one of the most successful names in local designer wear. He may be one of the few paradigms for future designers to follow in as far as marketing goes. His female counterpart is the very ambitious Maria B who has also opened stores in all of Pakistan's major cities and soon in Paris, despite the naysayers accusing her of using her husband's money. Well, what's the harm in that? Maria B's stepson Ammar Belal of ABCD is also a fashion visionary and maverick of sorts who uses various modes of artistic expression: film (last year's kung-fu inspired fashion cinema verite, 'Satori)' music videos (this year's rock era-inspired 'My Favourite Dream' by the ABCDs) and his own person style as marketing tools for his au courant collections.

After having been bombarded by a series of 'fashion epiphanies' both while interviewing 'fashion folk' for a series of LSA-related articles, I have learnt that "Pakistani fashion is nowhere on the international fashion arena" despite designers such as Rizwan Beyg, Hasan Shehryar Yasin, Faiza Samee showing in the Czech Republic and Beyg, Maheen Khan and Sonia Battla having shown at the Paris pret shows in the past. I have also learned that models "should be taken as seriously as men and women who work in multinationals or who are social workers".

In my opinion, what good have most of our leading fashion models done for the service of humanity except rake up large amounts of money for themselves and controversy and notoriety? Granted Pakistan does not have organizations like PETA (People for the Ethical Treatment of Animals) for which models can claim that "they'd rather go naked than wear fur" but like Christy Turlington, whose father died from lung cancer and encouraged her to became a spokesperson for the American Lung Cancer Association, our models could find a cause close to their heart and become more visible publicly responsible individuals (Vaneeza Ahmed has hinted that she "would like to do something that would not just concern my face or my beauty, but me as a person").

On the other hand the mindset of the average Ali and Sonia is that models are bimbos with "loose characters." I also recently had an argument with one of those C-grade 'model agents' (a woman with a temper) who was discouraging me from sending a lovely but totally hapless girl from Hyderabad to a more established rival 'model agent'. She said that the girl might be tempted to "find shortcuts" in her ambition to become successful. I don't think any of our more successful models had to resort to lying on the proverbial casting couch.

In fact Aaminah Haq, Iraj Manzoor, Vaneeza Ahmed, Eman Ali, Nadia Hussain, ZQ and Suneeta Marshall have all worked hard for their monetary success and fame, at the same time establishing modelling as a legitimate profession for the "sisterhood." But why don't we treat them like an Aishwarya Rai or a Cindy Crawford?

And the argument that the old model brigade should hang up their stilettos? I think their experience counts for a lot and their expertise about cat-walking, posing and managing their solo careers can be invaluable to new girls and keep the torch burning. The super girls know that modelling is not about a pretty face but about variety. A good model has to look different in every shoot — a quality which very few of the newer models except perhaps for Tooba and Nooray have. In Pakistan it's always been about 'gori chitti' ( snow white) pretty, and movie star glamour. I believe it's to do with a lack of exposure and training (although our stylists, editors and photographers know better but they seem to be suffering from perpetual ennui) and a lack of understanding what is required. It should not always be about presenting a pretty empty picture but about diversity which adds up to longevity.

Pakistan's arm-chair fashion critics who have been chastised many a time by designers to just "report" about shows rather than "review" them may be surprised to learn that the Export Promotion Bureau helps garment companies with capital bases of up to USD45 million and that the Pakistan School of Fashion Design and the Asian Institute of Fashion Design are both taking pains to strengthen their curriculums so that their graduates learn how to build and sustain their careers.

My observation is that the most talented and creative fashion designers or stylists are not always the best marketing and PR people: fashion designers Fayez Agariah, Umar Sayeed and stylist Asad Baig come to mind, while gift of the gabbers HSY and market mavericks like Nabila rule the roost. However, despite the best intentions of people at the Lux Style Awards, the EPB and fashion pioneers who want to see the birth of a cohesive Fashion Council (Amir Adnan, Rizwan Beyg, Maheen Khan and Nilofer Shahid) the fashion industry in terms of government support and funding isn't being taken seriously enough and the potential for the industry to become an organized, interconnected and supportive springboard is being diminished as is the spirit and exuberant creativity of many of its connoisseurs and neophytes.

Pakistani fashion has seen many developments and transgressions since 1947, with the shalwar kurta and shalwar kameeze undergoing myriad transmogrifications from the tung to the patiala and from short to hideously long and wavering at the knee. But designers in Pakistan have not done a good enough job of creating awareness about fashion and have not experimented enough nor created enough variations on Pakistan's national dress. They like to play safe and depend on a formula: Sana Safinaz's muted mints and camels and capris come to mind.

And Sure Deepak Perwani, Rubina Calzoom and Munib Nawaz can create great party wear to an elite or unsophisticated clientele with lots of money to spend. But what exciting pieces are they churning out for the common man and woman who depend on their own untrained whimsy; attempted acts of plagiarism from designers; and trips to Zainab Market or Dolmen Mall for garments that are only increasing the exports for Taiwan and Thailand manifold? And for Pakistani couturiers where are their imaginative and thoughtful but wearable odes reminiscent of collections created by John Galliano's Orient and Egyptian 'E' trips or Viviene Westwood's A/W 1995 'Vive La Cocotte' collection (Nilofer Shahid's and Shamaeel's meditations on Islamic iconography are the most poignant efforts as is Beyg's recent seashell collection).

Pakistani fashion has survived Zia's regime and in a strange and bizarre deja vu was faced by an order by the Ministry of Interior dated October 25, 2003, that on the instructions of the prime minister of Pakistan, all hotels and officials would ban fashion shows. According to the order: "It (was) observed that different functions are organized under the garb of fashion shows at leading hotels ... which militate against our national culture and Islamic values.... Such activities are not reflective either of our culture or heritage and subsequently paint the government in (sic) bad light."

Although Pakistani courts of law did not deliberate upon the legality of fashion shows, the Sindh High Court in Karachi implicitly approved of women pursuing modelling as a profession. In Atiqa Odho v. Lintas (PLD 1997 Kar 57), Justice Rasheed Ahmad Rizvi observed: "For a model or for an artist to act in (sic) advertisement ..., in fact, amounts to earning (sic) a livelihood." There is no reason to suspect that Justice Rizvi's comments were meant solely for women modelling in photographs, pictures and television. A female model on a catwalk is also earning her livelihood after all as the Pakistani model sisterhood will vouch for.

Fashion magazines such as She, Libas, Visage and Lines! and recently lifestyle magazine Diva have been pioneers in covering fashion and trends tastefully, becoming pacesetters for magazines like FAQ and MR (whatever happened to Men's Club?).

The upcoming Lux Style Awards in October, an anticipated Fashion Week and creation of a working Fashion Council in December will be the true arbiters of where Pakistani fashion stands and where it is headed. I, for one, remain an addict and a perennial optimist.

                           Irresistibly Iraj

by Zurain Imam

At 32 mega-model Iraj Manzoor, like most unmarried women in Pakistan, still lives at home. This cozy abode is a fifth floor apartment near the old Sabzi Mandi in which the Manzoor family has lived in for what seems like a sentimentally long time.

There is none of the garishness associated with newbie 'celebrities' nor the je ne sais quoi ambience of the love shack of a languorous and independent model. It is a tasteful family home, with stunning prints made by both Iraj and her younger art school-going sister hung on the walls of the sitting room, with a welcoming adjoining kitchen. Iraj's mother, veteran TV actress Zinat Yasmin, even peeks in and offers tea and biscuits.

Iraj also finally looks at ease in her own skin and is voluble; bubbling with effervescent energy and candour. Her gamine crop (which she's bored of talking about and no, her mane was not what ultimately epitomized her) has grown out, and she has allowed it to follow its own natural wavy route, adding a dash of burnt sienna on a centre straggle of hair. She is without make-up, save for a little kohl on her under-lids, barefoot and dressed simply in a skater's long T-shirt and snug, slim jeans.

Iraj has always been heralded as an 'amazon' and a 'chameleon,' both for her 5'10" frame, once long wavy hair and dusky complexion; as well as for her ability to seduce the camera and become a mood-swinging photographic changeling. Her most distinctive quality however has always been her authenticity. At any given time in her 14-year career one could inversely ply that chameleon-like soft mocha skin of hers and find the same being on the other side. It is one trait that she is also most proud of.

---

"Fashion has become crafty rather than arty and I think the time of the supermodel is gone. Now it's very 'Stardust' and Bollywood inspired. Publications have become catalogues, and designers have become 'shadi ka jora' mills, not aiming to produce ethereal pieces anymore," says Iraj

---

"I don't think I fall into the circle of 'icon,' she says evenly when asked about her status in the fashion world. "I think a model has to go beyond modelling, into acting for example to be considered an icon. Few people cater to the perception of a model reaching such heights." She mulls and sprightly states that she feels, however, that she has reached icon-hood, and she says this not with a self-righteous hauteur but just as a matter of fact. "I think I've given a lot and set standards. I've been outspoken. I've sat out of shoots that weren't creatively interesting."

In response to a question whether there was the possibility of a model receiving a 'lifetime achievement award' at the upcoming Lux Style Awards, Iraj says that it would probably never happen as models weren't taken that seriously, but hopes otherwise. "I think what sets me apart is that my purpose for modelling has not been like that of the other girls. I think my stint as a model has been as important as the work done by a person sitting in a corporation or the travails of a social worker. It has not been my purpose for everything in life, but there has been pain involved. I think I have gone beyond and challenged the stereotypical, physical and sociological impressions of models. It hasn't just been about looking good and feeling good. The validation of my sanwali complexion was also a challenge to the gori chitti-obsessed fashion industry."

Feeling good about herself has not always been an easy undertaking for the now seemingly self-assured mannequin. In a profile about four years ago, Iraj had discussed her "uncomfortable relationship with food." She had said she had been almost anorexic and at fashion shows, while skinny Vinny dove into a heap of biryani, Iraj would find dinnertime excruciating.

Iraj unabashedly says that since she quit smoking three years ago she has become much more conscious about her eating habits. "I was a chain-smoker for 12 years. Peoples' general perception of a model is 'No food, lots of cigarettes; drinking; loose morals; and unfortunately loose bowels as many models also use laxatives'. And a lot of young models buy into that stereotype. One is so pressurized to remain skinny that one becomes disoriented. A lot of the new girls don't eat and start smoking in their belief that this will keep them thin. It is my responsibility and the industry's to re-educate the new crop of girls and tell them there is an alternative, and that is to be healthy," says the model who still claims that she loves a woman's clavicles showing not as a sign of malnourishment, but of power.

Iraj says she now maintains her base weight of 116 pounds with aerobics, running and using weights. "I eat food to stay healthy and to remain healthy when I am old. It's been about a life change and sticking to a healthy lifestyle."

Speaking about the industry in which she has reigned, along with Vaneeza Ahmed, for nearly a decade-and-a-half ("Vinny came much after me, about four years later"), Iraj becomes animated but stays to the point. "Fashion has become crafty rather than arty," she says, throwing me the ironic smirk that has delighted fashionistas for aeons.

"I think the time of the 'supermodel,' of Vinny, Bibi, Zoella and (Aliya) Zaidi, etc, is gone. Now it's all about mass production done in bulk. There is no pain involved in shoots anymore. I loved the outdoor shoots we used to do with Arif (Mahmood) and Arshad (Tareen). Now it's very Stardust and Bollywood inspired. The personal touch is missing. Publications have just become catalogues, and designers have become shadi ka jora mills, not aiming to produce ethereal pieces anymore."

She says that she does suffer professionally because she avoids shoots that a lot of the other girls end up doing. "I just can't stand and do the typical spiel in front of a tree," Iraj says, adding that she also can't sit with other models either. "They don't talk. They b.... out. I find being alone more constructive and less obscene. I need positive energy around me and to remain rooted, otherwise I'm miserable.

"I find this whole clannishness and grouping associated with this field very bothersome. Since Lahore has come into the fashion frame in a big way, not necessarily in terms of quality but at least in quantity, the exigencies related to clannishness have increased." Iraj says that Lahore girls should get along with Karachi girls as there is a lot of talent in both cities in terms of photographers and stylists and enough work for both of the cities' models. "But the thing is," Iraj explains, "it's not up to the models in most of the cases. It's this entire system of Svengalis who don't allow "their" models to circulate around other clans."

She also sees a class bias inherent in the modelling business. "I come from a very Urdu-speaking background. I've been lucky as I've been very bad with my PR. But God has been kind although it has taken me a long time to reach my pinnacle. However, I feel newer modelling agencies would discriminate and only encourage girls from a particular social milieu. I see the same happening on FM radio channels with their overabundance of English being spoken. If I befriend a fledgling model from a background similar to mine, I could help her, but her agency might not encourage her as much as she deserves."

What about the absence of and a need for a cohesive fashion council? "This is not a personal attack," Iraj warns smiling. "But when 'big people' get together their egos begin to collide. That sense of segregation and 'me, myself and I' has to go and the whole industry has to move beyond and view the larger picture." Iraj concedes that this type of detachment is difficult in human nature but fashion people need to get the basics and the foundation right. "Most people in the fashion field aren't rooted. They don't know why they're there," Iraj states without irony.

How did she feel when the LSA handed out a 'Best Model' award to both her and Vinny in 2002? "It didn't feel good," she says. "They played it safe. I think they should have given out 'Best Model' awards in two different categories. I was justified for ramp modelling and Vinny for print."

Iraj is also vocal about the latest campaign for a soap brand, perhaps feeling a tad bit pinched that neither she nor her cohort Vinny was used in it. "Besides being known as the 'soap for film stars,' they should look beyond the film world and use new faces that may make it in the industry. I feel though that Sonya Jahan was a good choice."

The cultural predilection for the gori chitti (fair and hence lovely) brings us to Iraj's early music video appearances and the controversies surrounding her most recent cameo in Schaz's Jalan. "I've done five music videos in my career," Iraj explains. "My personal favourite is the Vital Signs' Sanwali Saloni which I took favourably as an allusion and compliment to my own complexion," says Iraj.

A video Iraj did just for the concept ("Primarily, the concept of a video is very important in my decision to commit to a project, as is the money, otherwise one is used and abused") was Saqib Malik's risque video for Rushk's Behti Naar which was so provocative that its screening on TV was ultimately banned. "At that time in my life I could relate to the dominatrix role and I loved the fact that I was dominating Tariq Amin," she says.

But the character she plays in Jalan seems to be Iraj at her most authentic self, although there is also a hint of the alter ego and apparitional character played by Brad Pitt in Fight Club. "That is the real me," Iraj says in an almost celebrative manner. "I am very loud. However, I'm not that adventurous. I might have to think about things. Among my friends and colleagues I'm the most weird and experimental and no one is as much as a shocker or is not as balsy as me. The director of Jalan, Wajahat Rauf, came up with this character and knew he had to cast me. Finally I got a character I could relate to."

Iraj says that her days of dreaming about a romantic ideal have been numbered. "I believe the best ideal is yourself," she says stoically. "I'm busy discovering that first. The perfect person inside of me. When that happens I'll observe the seemingly perfect block and look for something missing in me and find someone to fill that void."

This is the conundrum surrounding this seemingly straightforward of models. "Perfection is boring," she says only half facetiously. "I suppose I'm a negative person. But quixotically the negativity within me brings out the positive energy that is so important to my survival and sustenance. That's why the negativity surrounding fashion helps me to channel an optimistic outlook."

And what does the future hold for this fashion maverick? Is it time to hang up the catwalk stilettos? "Yes," she guffaws. "I'm still viable monetarily. I will never ever use botox and collagen implants. I have survived because of my honesty; my integrity in my work; always making an extra effort and slogging; my individuality; and my authenticity. People who have common sense and an aesthetic eye will always see my value. The basic criteria for a model are her physical attributes. But I would like to suggest to the fashion world to think about character building. I want to do a lot of things, but self-control is an issue with me.

"I don't do TV because that's a personal choice. The dramas of my mother's heyday were far superior. I would never do a soap opera especially where the role is built around the fact the actress was a model. I love Sania Saeed. She is my favourite actress because she is so simple but brilliant. I'm very anti-filmi. Look at the recent spate of TV commercials. They are all 'item' based. Our culture is not like that. The fuzzy line between Indian and Pakistani TV has become more obscure," she says.

A graduate of Karachi's Indus Valley School of Art and Architecture's Fine Arts programme and a very talented artist whose thesis project was an incisive rendition of the stringent demands imposed on models' bodies, Iraj says that she is miserable that she is not painting these days. However, she would have to think really hard about participating in a exhibition. She would love to perform more mime theatre after her fashion tableau performance with the Lahore-based mime troupe Oops! in a Nabila/Zain Mustafa production.

"My friends, especially Schaz, who can really sing well live, tell me I have a great voice. But I'm a perfectionist and so I use that as an excuse to become lazy about most things." Lazy perhaps, but also enduring.



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        The Road Less Travelled: Nilofer Shahid

                     by Zurain Imam

                                   

 The name of Nilofer Shahid, directeuse de stylisme of the fashion house Meeras, habitually evokes images of regal and old world grandeur, an almost elusive yet immensely alluring aura. Although Nilofer's journey has often been an arduous one, she has always been cognizant of the fact that all the curveballs life has thrown her way have always led to self awareness and spiritual growth. Her myriad of collections have often been redolent of this mystical aesthetic.

Being brought up on a steady diet of Khalil Gibran and A.R. Chughtai's paintings only served to further accentuate Nilofer's discovery of culture. Her fortitude and feeling close to her heritage emanates from her pride in her lineage; a family of warriors, poets, writers and painters whose blood line can be traced back to ancestors who played a pivotal role in shaping Mughal history in the 16th century.

From an early age, Nilofer was drawn to the art of craftsmanship, a passion that continues. In 1992 with the launch of her fashion house, Meeras, Nilofer made a natural transition from being an avid aficionada to becoming a dynamic participant. The word 'Meeras' means 'legacy' which explains the philosophy behind what has becomes one of Pakistan's most prominent fashions houses – to transport a vision of the past into the present.

Equated to Dior by French newspaper 'Le Figaro', Nilofer's forte lies in the profound attention she pays to detail. Every collection is preceded by intensive sessions of research so that every piece is as much a depiction of art as it is of history and culture.

The themes of her collections reflect her deep affinity with the land of her birth – from Islamic calligraphy to Mughal architecture to the heritage of Central Asia, Nilofer's work has spanned the East in its truest form. The ethereal appeal of her creations has entranced a growing clientele of discerning clients like Princess Haifa (daughter of King Faisal of Saudi Arabia), Princess Nourah (wife of the governor of Riyadh), Princess Jawaherah Al Thani of Qatar, Jemima Goldsmith, pop star Madonna, Olivia George Harrison and the late  Diana, Princess of Wales to name just a few of her clients.

She has attended Bridal Asia International Fashion Week in Delhi in 2004 alongside Faiza Samee and Shehla; and Bridal Asia 2005 alongside Saadia Mirza. In Paris, the French press labelled her collection a "beautiful fairy tale."

In 2004, Nilofer was appointed on the Board of Governors for the Lux Style Awards. She was nominated for the LSA for the Best Designer Couture/ Bridal wear in 2002, and awarded the LSA for Best Designer Couture/ Bridal wear in 2003.

Images issue caught up with the city's grande dame of couture as she prepared a signature collection inspired by Kashmiri shawls that would be shown alongside the work of the late Spanish fashion designer Cristobal Balenciaga Eisaguirre, whom Paris will fete from July 4, 2006 to January 28, 2007, with an exhibit at the Musée de la Mode et du Textile in the gardens of the Palais Royale.

Before his death in 1972, Balenciaga's work influenced countless designers, such as Oscar de la Renta, André Courrèges, and Emanuel Ungaro. Nilofer's collection will be exhibited for a whole month, with a soft opening on June 28 running until the end of July.

Tell us about your upcoming project?

I was invited by Didier Grumbach, President of the Chambre Syndicale de la Haute Couture to show my collection alongside the work of Balenciaga. Paris is celebrating and paying tribute to Balenciaga and the exhibition will be at the prestigious Joyce Art Gallery which is located in the gardens of the Palais Royale near the Louvre in July as part of haute couture at Paris Fashion Week. This strategic step will create hype for the Nilofer signature brand. I am thinking of using Kashmiri shawls to create my stamp and ethos. I believe it is very important to develop a strong brand image.

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The themes of her collections reflect her deep affinity with the land of her birth – from Islamic calligraphy to Mughal architecture to the heritage of Central Asia, Nilofer's work has spanned the East in its truest form

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How did this great opportunity arise?

In late 2005, a survey team came to Pakistan to scout leading fashion houses. I met the president of the Prêt Federation and was the only designer from Pakistan to be invited to Paris. I was introduced to actual buyers and top boutique owners, which was a great learning experience. Someone thought my work was more couture and when I went to Paris in December 2005, I received a very positive response and the Syndicale de la Haute Couture approached me for the Balenciaga Exhibition.

What is the great impulse behind your need to rediscover Islamic iconography and culture in your collections?

To be honest I can't define my impulse in one sentence. But there are a few reasons for my passion. One is my basic passion for self-learning and rediscovering roots beyond just a century. I think my father's interest in culture heavily influenced me. I felt connected to the subcontinent in a profound way after I began reading my family history and it made me want to travel to Central Asia for one of my collections.

My father comes from the Niazi clan who are direct descendants of Mayamoto, daughter of the King of Afghanistan that later settled in Northern Punjab. My father went to Aligarh and later joined the Royal Air Force and married my Kashmiri mother. I was born in Karachi and we moved to Lahore. My father would take us to museums and take pride in our ancestors. Whenever I visited such places, I would get a sense of déjà vu and belonging.

Do you find embarking on research painstaking?

When I am doing research, I am not trying to prove anything to anyone. It's a self-learning experience and I believe it is very important to have the basic values to embark on things with a sense of honesty. There has to be a feel to what is to be presented in terms of colour, cut and embellishment. Each dress has to have un histoire (a history) as the French would say. Doing research and telling a story has been a passion and has not been a commercial gimmick. It comes from within. I see it as an art form. I feel I am still learning.

Do you follow a pattern when designing a collection?

The first step for me is to create a story. I was inspired by the paintings of Chughtai and my collection was a sartorial interpretation of his miniatures. However, interpreting Omar Khayyam (For Karachi's Couture 2001) was doubly challenging because it was wholly conceptual and there was no visual reference, as there was with Chughtai.

With the Omar Khyyam collection I tried to understand the journey of the soul. I had to relate my own journey and had to explore my own self. I formed a story with five segments. My designers also had to read Omar Khyyam and I had to infuse its spirit into them so that they could design with more depth. The first and second segments had potter's clay earth tones which represented 'tarnishing of the soul' by worldly pleasures and I used the then trendy pashmina but moulded it into structured skirts and jackets.

The third segment was infused with red that represented Worldly Seduction with dress titles such as 'Intoxication' and 'Seduction'. The fourth segment was about 'Self Realization.' This was represented by black saris that steadily lightened to shades of grey and then to aquamarine. The final stage was 'Rejuvenation of the Soul' through Divine light that I expressed with ethereal bridals.

We draw sketches and try to get the look of each segment right. I guide my designers at each step. In 1999, I first learnt to work with designers from PSFD. For my recent 'Ode to Khalil Gibran' (shown at 2006's Lux Carnivale de Couture), I had 11 designers working with me. Irfan Cheema who worked for me now teaches in Shanghai but he works with me during summers as we are on the same intellectual level.

We can make 70 sketches in four days and schedule to begin making the garments within one month. The colour story is also very important: how one colour moves into another. The greatest challenge is how to link the last dress in a segment into the next story. We then decide the embellishment and accessories.

What are your strengths as a designer?

I think the strength comes from the garment and collection itself. There's usually a strong colour story and a sea of diverse fabrics which coalesce into harmony. That is a delicate area. My strength also lies in putting fabric and colour together. I also love embellishment and I have evolved in that department. My garments are also very well finished. I don't cut corners or cut costs where finishing is concerned. There is no budget. I follow the 'feel' and that helps me create.

I think the strength of my conviction touches the hearts of people and they can recognize or relate to a Nilofer Shahid outfit. I believe I need to work on the organisation of my business. Due to lack of education, my workers have egos and nakhras and I have to sit with them and explain how to create the shade for a motif. You have to be sensitive.

And your weaknesses?

I have a bad temper but I have learnt to control it. However, I can never understand a person who lies and deceives. I still sermonise with my workers about honesty and commitment. I would prefer to only create, but at the end of the day, I am working alone. Another weakness is that I feel I am too trusting. I have learnt the hard way and suffered because of it.

I'm also not very good at time management. But I've learnt to accept certain professional things and that has led to some peace. I'm ambitious as far as work is concerned but I am not street smart.

Do you have a favourite colour/ fabric/ embellishment/ silhouette?

Personally on myself I like white and off white. I love earth tones, jades, bricks, gold and dull lilacs, which ultimately became signature colours for Meeras. I have never used Indian cloth because I want to promote our own industry. We are producing beautiful fabric.

Earlier on, I used to encourage small fabric shops to experiment by mixing chiffon and tissue et al. Now those tiny shops have expanded into large businesses and I am proud of my involvement in that.

Any more firsts?

I was the first designer to introduce antique zardosi work — dull gold and silver look, as opposed to the common yellow gold, which rendered an old fashioned look. I brought samples from India and I asked the craftsmen here to duplicate it. They experimented for one year and announced that they could not create it. I riposted that if India could make it so could we. That was 1993.

I was the first to introduce block prints using the lungis of Sargodha. I was the first to do block printing in Lahore in the mid '70s and also hand painting on fabric. I introduced the fishtail into the Pakistani fashion vocabulary in 1999. I have constantly diversified traditional cuts by revamping.

Did you have any early fashion inspirations, icons or designers you admired?

I often related to Christian Lacroix because of our common use of diverse fabrics. Currently, I like the work of Roberto Cavalli who has an exciting way of putting fabrics and embellishment together. Locally, I used to admire Rizwan for introducing certain cuts and colour combinations; Maheen for her drape and cuts; and Faiza Samee and Bunto Kazmi for their strong traditional embellishments. Each designer has their own forte which I appreciate.

Do you think you could operate in Karachi?

Lahore was a very difficult place to begin my career. It was more challenging to design there. There were stricter social and religious norms. Even sleeveless outfits, although worn, were not universally accepted. I feel no geographical barriers within Pakistan. I feel very comfortable in Karachi and I know my work will speak for itself.

Tell us your side of the Lahore Fashion Council debacle?

(Hesitates). I don't want to comment as it won't get anyone anywhere. It's not that I can't deal with controversy it's just personal ethics. Plus I don't spew negative energy. I believe that whatever you do, your intentions always come out clearly in the end.

I worked for the birth of the Fashion Council for one-and-a-half years. I was appointed as the chairperson of the Pakistan Fashion Design Council (PFDC) in 2003. My basic obsession was to help create one platform for designers. I was disappointed to see it break up and so I thought it was better to step out of the mess. However, Rizwan Beyg and Maheen Khan wanted me to become a founding member. My priority was not to become the chairperson but to get things going and not to squabble. Our energies should have been used to look beyond egos and not negate one another.

What is your involvement in Fashion Pakistan, the Karachi-based council, and how much faith do you have in it?

I am a founding member. However my involvement right now is limited by other commitments which keep me busy 24 hours a day. I've always looked upon our work positively, but I do have certain reservations.

Before we start dwelling on all the activities planned we should develop a strong infrastructure. It will take time to put the act together. My message is to go beyond the squabbles and pettiness and egos and look to breaking into the international market and put Pakistan on the international fashion map. This will enhance Pakistan's reputation and image and reap economic and financial benefits.

Fashion is now being considered a serious industry by the government. We are a young nation and we should continue to learn. Look at India. They showed us how to successfully initiate a fashion council. They've had their share of problems with the bifurcation of their fashion week into Delhi and Bombay. But they've forged ahead.

How realistic is a Pakistan Fashion Week in December? Any ideas of how to implement it on a macro and a micro level?

It's an ambitious project. December seems too premature and practically unviable; it won't be easy. However we should do something on a micro level and we need to go through the exercise step by step.

How do you react when other designers, usually neophytes, plagiarize your designs? For example HSY and his early appropriation of your fishtail lehngha skirt and recently Saadia Mirza your Chantilly lace capris which you had shown in your 'Ode to Khalil Gibran' collection?

I've learnt not to be annoyed. There is a western designer who once said that the day he realised he wasn't being copied would be the day he would begin worrying. I view this copying as a trend I have established. But I wish these designers realised that what they are doing is killing their own creativity. It's alright to take inspiration and pick up an element but they must translate it into their own fashion vocabulary. Could copying so blatantly make anyone happy from within?

During your acceptance speech at the recent Indus Style Awards, where you were inducted into their 'Hall of Fame', you spoke about the importance of your children's support. Can you please tell us something about your family life?

I have been married to my husband (Shahid Aziz, a low-key businessman who has recently delved into construction but has only been to a few of Nilofer's shows) for 31 years. I have two daughters, Fatima and Eishan who are both married and two sons Hassan and Saad.

As my business began to pick up I was sometimes away for trips, and like most working mothers I began to develop a guilt factor. Fortunately, I was able to build my empire within the four walls of my home because I wanted to stay close to my children. Clients would visit that space. Mothers have to be role models. It's a big responsibility raising children. I'm happy and relieved that my children have grown happy and well-adjusted. I know that they will always stand up for me and support me. It's a great feeling and a great gift.

Tell us about your mention in a book written by a French author?

Delphine Evmoon, a female French journalist has written a book ('Le Nord du Pakistan : une visite au pays de l'imaginaire') which is considered to be the first book revealing a softer Pakistan. It's written in French but is probably going to be translated soon into English. There is an essay, with photographs, about me and my work in the section where the author discusses fashion and culture.

And your involvement with the Lux Style Awards?

I believe it is a great effort. Recently I was told that some of the senior designers were going to boycott the Lux Awards. I've heard stories of discrepancies in the voting process and mafias which have burgeoned into conglomerates. We must raise a collective voice against these types of biases.

I have made contributions to the LSA. I continue to send my collections. But we need a joint monumental support from everyone.

Describe the Nilofer Shahid woman.

She is very regal, distinctive and extremely graceful, yet natural and compassionate and most importantly has a beautiful soul which one can feel in her eyes and in her aura. Whatever she wears becomes part of her essential form. Carriage is very important. The Nilofer Shahid woman has to be bold in a positive, experimental way. She mixes clothes in an almost bohemian manner. She can wear a sedate outfit and enliven it with a snazzy stole or clutch bag.

How have you prevented your label from not being merely posited as an "exotic other"?

The highlight of my career was when I went to Paris in 1997. It was the culmination of all my dreams. I participated in the Paris Fashion Week at the Louvre. My collection was inspired by the works of A. R. Chughtai whose paintings were in turn inspired by the greatest poets of Urdu language, Mirza Ghalib and Allama Iqbal.

I was the first Asian to share the Paris runway with a leading name in Parisian fashion, Oliver Lapidus and stood side to side with Ferragamo and Chanel amongst others. I believe there is always a right time. I had no sponsor when I left Pakistan but Boucheron Jewelers sponsored me within 24 hours of reaching Paris. I always had the feeling that I could break into that world. The key is to present yourself in such a way that you retain your signature and continue learning so as not to stagnate.

Any lifelong ambitions?

I want to write, paint, sing and go on a beautiful holiday to the South of France. (Laughs) I have always wanted to work at an international level. But not just for myself. I want to carry forth with the recent Balenciaga exhibition and open a window for high-end designer wear and prêt for other designers. I believe in this vision and hope it comes true.

So your philosophy then is?

Paulo Coelho in 'The Alchemist' says that when you take risks and decide you have no choice but to take a difficult path, the whole Universe conspires to help you. It is like my experience with Boucheron sponsoring me overnight. I thank God for the gifts and mercies in my life. I often feel special.

        Couture Life

                                       by Zurain Imam

Karachi was once again awash with an exhilirating buzz as the Teacher's Resource Centre (TRC) announced its line up of couturiers for it third Lux Carnivale de Couture. What piqued the city's cafe society's interest most was the inclusion in the triumvirate of designers showing, of 'bad boy of Indian Fashion' 45-year-old (and not 34-year-old as mentioned at the show) Rohit Bal who 'Time' magazine has dubbed "India's master of fabric and fantasy."

After last year's show in which Sana Safinaz's very wearable yet muted slit capris and shifts in mint and stone proved anti-climactic after Tarun Tahiliani's electrifying pin-tucked and draped showstoppers in ruby and shocking rose, one wondered what configuration Zeba Hussain, the chairperson of the TRC Committee, had put together this time.

One was briefly alarmed that revivalist Faiza Samee and artisan Nilofer Shahid were to be paired with Bal's brash and oftentimes subversive clothes until one learnt that Bal was showing his ode to purity, his Sheen Mubarak collection.

This writer would like to make a brief comment at this juncture. All proceeds of the event including two auctions pieces: a UAE national flight carrier's Karachi-London-Karachi First Class ticket (which fetched a whopping amount), and an original Rohit Bal ensemble which garnered Rs500,000 (Pakistani) went to the President's Fund for Earthquake Relief. Many of the victims were from Bal's home state Kashmir. It was heartfelt of Bal to lend his huge celebrity for a cause close to his heart but one wished that he had made a brand new special collection for this event as he had already shown this one earlier at the Lakme International Fashion Week 2005 in April 2005.

"I had almost finalized to have Abu Jani and Sandeep Khosla come this year," says Zeba Hussain. "But I attended the LIFW in April 2005 and saw Rohit Bal's breathtaking collection for which he received a standing ovation. In comparison, Abu Jani and Sandeep's collection wasn't that great. And when I saw Rohit's long-flowing Nehru jackets, I thought of pairing him with Nilofer Shahid who also does long coats. I wanted Rohit to show this pure white collection as it was the best of the best and we want each country's public to appreciate the very best of each."

She said she added a third designer, Faiza Samee, because she didn't want people to compare and pit one Pakistani designer with one Indian designer. "Each designer has their own distinct style and I am happy that Lux Carnivale de Couture is shaping up to be an annual event."

Of course, the other buzz created was the one garnered by the smouldering presence of supermodel-turned-Bollwood film star, Arjun Rampal, who looked as suave and handsome as he does in his films and in magazines in a light herringbone Armani suit; and Sonia Jehan who looked stunning in a cream, red-trimmed sari "that I just picked up" she said.

The first designer to show was Faiza Samee who as always created a "special collection and a new line" for the show. Other fashion writers have sometimes chastised Faiza for attempting to experiment with modernity, for example her inclusion of slit capri pants in this collection, believing she should remain in the realm of tradition and revivalist textiles.

"I like to do classic stuff based on classic cuts. Clothes which remain timeless," Faiza ripostes. "I don't want my clothes, which are fairly expensive, to become outdated as the once 'all the rage' four-layered skirt some years ago." Faiza used a melange of fabrics including gauze, georgette, chiffon, velvet and pure silk. Saris and classically cut suits including short, and mid-length kameezes paired with slit capri pants included elements Faiza often uses including floral applique motifs, animal prints and a collage of textiles that gave the collection a "richly chunky feel." The inspiration of this collection was the exquisite architecture of the Taj Mahal including its inlay work that showed up in the jewel-toned embroidery.

"The colours of the collection are from the precious stones of the Taj Mahal," Faiza explained. The showstopping finale bridal piece that took Faiza's artisans 355 days to complete was the dull rose-coloured gharara reminiscent of the red sandstone of Agra and Jaipur that was paired with a jade green dupatta and a shahala (second dupatta) which was a weave of the jade and the red sandstone. The ensemble had reverse chatapatti at the hem and was imbued with precious stones, real pearls and woven with gold thread. "This outfit remained at the Victoria & Albert Museum for six months in 1998 and also the Royal Museum of Scotland who wanted to buy it for their permanent collection," said Faiza.

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Rohit's 'Sheen Mubarak' (Kashmiris' way of harking and celebrating the first snowfall) collection was breathtakingly deft and a fine ode to purity. 'This was a going-back -to-the-roots collection for me and was, therefore, heartfelt'

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Faiza said she was happy to show with Rohit Bal, a close friend who she met on one of her trips to India. She had seen both the silver imbued Sheen Mubarak collection which was dedicated to the plight of Kashmir and his own virgin white Taj Mahal Collection, both of which he juxtaposed at Lux Couture. "The collection wasn't a surprise and I knew what to expect as far as who I was being paired with," Faiza says. "I get along with all designers, Indian and Pakistani, as each has an individual style identity and value."

Nilofer Shahid's hallowed Paris Couture-worthy collection was a soulful amalgamation of tradition and modernity. It was ethereal yet unpredictable, merging myriad design vocabularies that will undoubtedly prove to be timeless and classic. Since the age of 16, Nilofer has been enamoured by the Lebanese writer, poet and mystic-philosopher, Khalil Gibran, who she recently discovered was also an accomplished artist. This three-part collection was an ode to Gibran and was inspired by his tome, 'The Playground of Life', from which she picked up a sub-narrative, 'Tears and Laughter' (Smiles). Reminiscent of the Shakespearean four stages of life, Nilofer honed in on the narrative's opening lines for her collection which briefly paraphrased begin as: One hour of truth for the love of God is worth more than an eternity of glory. The collection's impetus is the profound feeling one feels when one surrenders to God and feels myriad emotions including empathy for the downtrodden. "That one hour is treated like a jewel and that's what I was inspired by," Nilofer said.

The first segment is thus influenced by the beginning of life: the sea which is an integral part of nature. Swathes of aquatic blues and an electrifying lilac blue swished down the circular runway that was designed by Ahsan Najmi, who has designed the sets for the Carnivale each year and who may have been influenced by each of the designer's Circle of Life collections. The lines of the first segment were reminiscent of men's couture of the 16th century but imbued by feminine embellishments. A jade and turquoise-coloured jacket was richly embellished with fleurettes, ribbons, pearls and real turquoise, jade and Chinese beads. There was also use of the very au courant Chantilly lace which also found itself on an aquamarine and turquoise brocade and organza jacket which had an innovative elasticized skirt with a bouquet placed off-centre and offset by a Chantilly lace veil.

Nilofer's second segment represented worldly life, and reflected Gibran's life in France hence the Parisian feel to this capsule. Bejewelled and visual, this segment had an off-white base that represented the soul cleansed and returned to God. The third segment introduced Nilofer's bridal collection that indicated eternal happiness to God's promised right-hand people. There was a feel of ebullience and vivid colour including a deep-coral fitted elasticized skirt with ribbon-like strips going down one side with a trompe l'oeil jewel effect on the Chantilly lace top and offset by a circular half veil.

Nilofer, who loathes being put into a bridal designer niche, was an early trendsetter and was the first designer to introduce the fishtail into Pakistani couture in 1999. "I cannot work in a niche and I believe I have always been a bold innovator," she says. This spurious and delicious innovation and unpredictability was seen in a creative dupatta emerging from inside the sleeve of a bustier with ruched edges; and in the reinvention of the poncho which Nilofer felt had become common. A hybrid of a shirt and a cape, a blue, kimono-sleeved silk top was bifurcated into a long-waisted velvet shift with delicate embellishments inspired by nature. Nilofer also researched Lebanese headgear worn by men and women, including Lebanese women winding up their hair which manifested itself in scarf-like headgear. Conical topis and skull caps embellished with Lebanese coins and flowers were a final ode to Gibran.

"The feedback was that my collection resembled Paris couture on FTV. It wasn't predictable. I innovated and added unique design elements (that included bondage-like strips and wraps and sexy texturing in the form of minute cutouts on silk on a low-cut shirt. ) "My discontent about the Pakistani fashion industry is that designers have become scared to innovate for fear of losing their commercial appeal, and hence have become stagnant and clones of one another, with a low level of creativity."

Rohit's Sheen Mubarak (Kashmiris' way of harking and celebrating the first snowfall) collection was breathtakingly deft and a fine ode to purity. "This was a going-back-to-the-roots collection for me and was, therefore, heartfelt," Rohit said. As with all of Rohit's shows, his segment began with Ancient Egyptian-looking models dancing Hindu god-like/meets Madonna vogueing before the avalanche of models including Indian supers Sapna, Carol, Joey, Bhavna, and Neha; and Pakistani 'supers' including Iraj, Nadia Hussain, ZQ, Sunita Marshall and newcomer Faiza swarmed around the runway. Lahori model Iman Ali looked ridiculous as she swaggered angrily, drag-queen style, and pouted in a faux sexy manner. It's all very well for a model to have her trademark walk and look, but she should also be aware of the mood of the clothes and what other pleasantries are going around her.

Tania Shafi, on the other hand, was too aware of her surroundings as she giggled as her gaggle of relatives including Sanya and Sadaf Muneer and Safinaz cheered her on as they do each year at Lux Couture. A senior male fashion journalist of some repute also managed to attract a few frowns and unappreciative stares when he shouted flirtatious innuendoes to Arjun Rampal.

Rampal himself raised the aforementioned astronomical auction amount with his own charming teasing, although he mentioned that he was married (to beautiful former model Mehr Jessia) a couple of times to the dismay of many single socialites.

Rohit's womenswear line consisted of full skirts, cholis, empire-line long tops, Nehru-collared jackets and capes. A long, ghair skirt was gathered and tucked casually at the side and was sexily paired with a bustier blouse and a long streamlined jacket.

Rohit's menswear had a latent warrior look, with toga-like wraps, flowing shirts, angharka-like wrap jackets, double layered skirt-pants, dhotis and simple trousers. An ankle-length wrap was fastened across the front at the side, and paired with a lungi, and a long, Nehru-style jacket was paired with a chiffon dhoti. Male models including Ameer Zeb Khan, Rizwan and Daniyal wore asymmetrical lapel jackets with crescent shape embroidery on their jacket and worn with layered skirt-pants.

The moon symbol, Rohit says, was something he saw on an ancient 15th century jacket worn by a Mughal emperor at the Smithsonian (Washington DC). He said he chose this motif for all his clothes for this collection.

Rohit also revived the age-old warak ka kaam (work in silver/gold leaf) once used for the Mughal royalty. Detailing on Rohit's finely embellished women's jackets included edging with jewels and crescent symbols, and a short jacket-style white-and-silver choli worn with a dhoti-style draped sari. The petticoat of this ensemble had been laser cut to give the impression of holes or optical polka dots, whichever perspective one prefers. Ruched up fabric was tied up into moon-shaped circles and wrapped around a long, encrusted jacket and a flowing skirt for another avant garde look.

The finale bridal ghagra-choli, worn by Carol, who was picked up from the stage and carried half way to the podium by Arjun Rampal ,was embellished with gold gotas on the odhni and the skirt. These gotas are called sachcha gotas, the true gold thread work that "will last forever," says Rohit. "Pass it down to your great-granddaughter and the lustre will be the same. Nothing will happen to it."

Hair and make-up, as with all the preceding Carnivale shows, was by Tariq Amin who gave models a healthy bronze look, light kohl eye make-up and shiny lips. The show was choreographed by Aparna and Tanya of Preferred Professionals with production services by Freiha Altaf. The ambience and décor was by the Friends of the TRC.

Attended by the creme de la creme of society including fashion designers Nomi Ansari, Samyra Rashid, Rizwan Beyg and Umer Sayeed; stylists Nabila and Mubashir; and myriad industrialists and TV personalities, the Lux Carnivale de Couture's third annual fashion offering was an energizing and fun-filled purview of the very best that subcontinental fashion has to offer, and also showed true desi heart and spirit at its most noble.

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