The long delayed PSFW finally took place shortened to three days with a new format that concentrated on the fewer people in attendance and dual locations. While it meant inconvenience for media to go out and re enter in another hall making it quite a cumbersome exercise. From three lonely rows of benches instead of shaadi chairs to rather paired down setups, it was a lot of changes but as they say hate the players not the game. Idea is good but then individual show invites meant big wigs won’t sit through shows of smaller/newer designers, as witnessed most chose not to. To say there were hiccups would be an understatement but in the greater good I hope the industry gulps it down instead of gagging on it.
Generation’s collection on the face value protested to bring back the festival of Basant. But it was the use of light fabrics, the Korean quilting technique Bojagi (traditionally used for wrapping gifts) and how modernized shapes of a kurta, shalwars were brilliantly moulded to explore new silhouettes was commendable. My favourites were the white and lilac monotone ensembles. Having said that they could have done away with text/Writings on the clothes, it debased the collection a bit.
Undisputed master of technique and textures Adnan Pardesy’s return to runway with ‘Quixotic’ was no less brilliant. His use of weaving and fabric cutting, lead to the most fascinating textures on the clothes, pastel hued perfections for summer accompanied some embellished pieces with geometric patterns as well all fit for a red carpet. Another rarity was wearable menswear that was replete with exquisite work and often blindingly intricate technique.
Sana Safinaz‘s Chateau Marmont symbolic of Old Hollywood glamour will undoubtedly be this season’s go to designer for redcarpet events for it-girls. Over time they have established this standalone image for their western wear with use of monotone floral prints and the use of billowing folds on bias cut dresses made of plush silks and heavily beaded floral motifs. While it was reminiscent to their older work and some international brands but the options on Saheefa and Amna Baber felt youthful and fresh.
Khaadi Khaas was undoubtedly the crowning glory for the whole PFSW lineup, ‘the Nomad ‘ made one travel the tribal route with modern interpretations of rich voluminous shapes. The calculated use of central Asian tribal patterns in earthen tones of ochre orange and green had flashes of exuberant gold peaking-through made the pieces neither discreet nor gaudy. The balance of old world new world was meritorious.
Sapphire’s Luxury Pret line ‘Totem’ featured oversized jackets synched-in with obi style Japanese belt, dramatic sleeves and flared pants I can imagine these will sell like hot cakes. The white jacket with printed belt detail and the blank pants with sheer panel on Rabia Butt were my favourite look. Good that chose to make something presentable and fashion forward rather than parading lawn prints like other highstreet brands. Now that I look back I wish they had dropped the use of Gucci-esque tiger altogether there were ample oriental elements to play with.
Sania Maskatiya’s dedicated new western line Sania Studio drew mixed reactions with some calling it nightwear but I found the minimalism rather charming. The foliage prints and even the plain silks in subdued colours cut into free flowing shapes which are forgiving to most body types but most importantly can be worn as separates. The favourite piece has to be the exaggerated sweatshirt ensemble on Amna Baber and yes I checked, it does not look like the Gucci print. Thank you!
Omar Farooq deserves the praise for acknowledging that men in Pakistan need clothes other than snazzy suits and shiny sherwanis. With Republic’s Paradox collection he explored the work life balance, different microcosms blending into each other and shaping our lives with different roles we play so there were relaxed suits, part light part dark denim jacket , some roomy pants to lounge and even a statement t-shirt to party in. Although it was less experimental and more utilitarian, the most remarkable feature was his use of collage like photos on to some of his pieces.
Ali Xeeshan’s Victory celebrated the people who found non-academic success in their lives. My ideological differences to celebrate it aside, the pieces that referenced collegiate elements like stripes of the ties, the khaki of school uniforms and even the patchwork were distinguished. Although the blingy gararas and bridal-esque pieces could have been just edited out entirely.
While many will be shocked, I genuinely have had it with expectations of appeasing people.Offending comes more naturally to me.