A lot of people messaged me over the past week for my misses posts.I feel really humbled that people(besides my family) actually visit aamiriat and anxiously wait for my raucous take on bad design and fashion. But when I saw so-called “credible writers” lyrically displaying exaggerated affection for bad/unoriginal designs of big and influential, I decided to waterdown this post that caused the delay. Why should a petty blogger like myself rip apart small designers when don’t even have the skills or the experience.
Whether to start from the Ishtiaq Afzal ‘s pale jade +pumpkin color palette to clothes that’s didn’t really fit well, ‘Aurora‘ missed out by small things that mattered a lot. There were quilted pieces that puckered and formed a boxy shape, and draped pieces whose hems fell short by a few inches. The fit on the Mohammad Ali sleeveless blazer vest was so wretched I shuddered in my seat. He needs a stylist to mix things up.
Aamna Aqeel’s collection was an odious mishmash. Some pieces had such misplaced open slashes that it made one wonder whether the models were escaping a rape attempt.The half-cooked collection offered many in-cohesive options that ranged from glitzy embellished jacket in the start to garish black pieces towards the end. My favorite was the white pant suit with embroidery across midriff.
Emraan Rajput’s ‘Alpha’ made an audacious attempt of working with military influences. It’s good that he didn’t do camouflage but his choice of working with plain fabric and double-breasted construction often made his menswear pieces resemble chef’s coats and women’s like airhostesses. The challenge here is that when you work with plain textiles and extensively use the same fabric, they end up looking uniforms. My sole favorite was the jacket on Shahzad Noor.
To truly appreciate Fnkasia’s ‘Folk Spirit’ you needed more than folk roots. I felt it was more of a struggle with aesthetic than with structure. The opening number on Nadia Ali actually looked like one fancy table runner that my Sindhi mother owns. From the crafty vests that looked as they were made out of katrans to the cheapjack construction of the garments, the collection could be called shoddy at its best. The only pieces worthy of attention were the embellished tights and the artisanal jewelry. Good thing about this was I actually got to talk to people sitting next to me. How delightful!
Nauman Arfeen ‘Royal Parade’ actually turned out to be a procession of costumes. One wonders who wears these? I guess probably only theater actors can. Collection after collection he arduously replicates eastern embellishments of sorts on western shapes. I wish he exercised restraint and experimented more with layering and styling that he did show with the jacket with medallions and the suit with scarf tucked in the front .The good thing about his was the coordinating footwear.
DnF’s ‘Siyah Safed’ collection had a lot of proverbial ‘grey’ owing to bad editing, there were some highs like the jacket on Arsalan Mughal and the ombre short dress on Nadia Ali but then there were some unfortunate lows like finale dress with shark gill detail on the hips worn by Sadaf Kanwal. It was like biting into a burger and finding there is only mayo in it, no patty or condiments. Their Keffiyeh based collection few seasons ago was much better.
Sadaf Malattere’s work seemed like an ode to Maheen Khan featuring draped silken ensembles with the classic drop-waist flapper style of 1920s and some vague Japanese influences like cherry blossom motifs thrown in .It all looked too bare and basic, the fabric choice let out small faults look big. It would have been much better only if she had used more color or styled it more radically. Correct me if I am wrong but what is her signature? 3rd black and white collection in the fashion week you could toss it in any other collection and it would be unrecognizable.
Nida Azwer‘ Tuscany hued designs were as random as a sandwich made from leftover in the fridge. From the burnt orange hues to Tuscany prints then mix of varying textures. A marriage of print and embroidered fabric that felt unconsummated, the collection left much to be desired. The velvet embroidered thobe was my sole favorite out of whole collection. Azwer’s ‘Renaissance‘ actually went in decline.
Faraz Manan Lamé-laden evening wear was glamorous but somehow missed out on small stuff. There were few shiny blazers with ripped jeans that could have been done away with and the beaded pieces and one made of sheer textiles were rather acceptably nice. His beading often reminds one of Elie Saab’s 2006 couture collection. Only if he edited some pieces out and styled it better his clothes would have fared better.
Sadly there were no wow moments and thankfully no horrid designs either. Another good thing was that there was a lot of menswear(that I cant afford). Another aspect worthy of mention was the pret potential(as stupid as it sounds when I contacted some of these designers it turned out most of the designers don’t retail).
Yes I purposefully mellowed my tone in this post for aforementioned reasons. Been reading reviews in print and I wonder how everything by every designer can be good, is it just about using fancy adjectives to describe clothes? There is so much persuasive flattery and cajoling taking place in reviews I felt like puking. I just pray that whoever praised bad ones, may they be photographed wearing the same designs and be printed in Sunday magazines.*said in Maleficent’s tone*