A Fashion Show for the Ages

Today fashion in Islamic republic of pakistan rolls through our lives like a well-oiled machine that is fuelled by a prolific industry and maintained by active consumers. An overactive media makes sure fashion is always in the flick. Collections are unveiled every vi months and vibrant campaigns launched with them. Business is generated to the tune of well over seven-digit-figures and mega deals are struck around it. Today, fashion nudges its way into all aspects of our lives, whether information technology's lifestyle, travel, work, television and motion picture.

Things weren't e'er this formatted. Back in the 1960s, women in Islamic republic of pakistan may have been more stylish but what they wore was seldom coming from an organised industry. Sughra Kazmi, Pakistan'southward original bridal revivalist, was perhaps the kickoff person who was acknowledged and acclaimed as a couturier.

Maheen Khan, back in the tardily '60s, was known equally The Seamstress in Lahore and operated her business from her veranda. It was only after years of training under French designers, investing in Stockman mannequins and acquiring design-making skills that she became 'The Maheen Khan' we know and admire today. Not many people know that She mag, conceived and adult by a immature Zuhra Karim to give a phonation to Pakistan'due south progressive women, was too one of her commencement jobs.

Maheen Khan's rise to fame was slow and steady but sudden and monumental was the arrival of Pakistan's biggest way brand always — TeeJays. In the '70s, when in that location was one country-run Idiot box aqueduct, well-nigh no manner magazines and admittedly no concept of PR, Tanvir Jamshed was the visionary who used PTV's uber pop plays to promote awami fashion. Hasina Moin's 1973 hit serial Kiran Kahani was TeeJays offset commercial success and over the next decade or so there came more two dozen more. This generation volition be almost familiar with the popularity of Marina Khan'south wardrobe from Tanhaiyyan, some other vivid serial by Moin. The color-assorted patchwork shalwar kameezes that Marina Khan was seen wearing became all the rage throughout the '80s.

The '80s also witnessed revolutionary changes in Pakistan — politically, and in response to the oppressive time that the country went through nether General Ziaul Haq, literally. The winds of modify also affected way. At that place was an urge for liberation. Sehyr Saigol started designing under her label Libas (initially she and Maheen Khan worked together) and stocked in Lahore at a fabulous place called The Fine art Heart. In 1987, Herald published its very starting time style cover, which took way to an entirely new level.

By the cease of the '80s, there was a burgeoning of names like Bunto Kazmi (who stepped into her mother in law's shoes), Faiza Samee, Nilofer Shahid, Rizwan Beyg, Shamaeel, Sana Safinaz, Amir Adnan and the Trunk Focus Museum. The twelvemonth 1989 witnessed Pakistan'due south very outset organised manner show for Maheen Khan, with Frieha Altaf, her sister Neshmia and Atiya Khan every bit catwalk models. Karachi emerged as Pakistan'southward mode uppercase. This was the beginning of a new era.

Way flourished through the '90s but it was in the early 2000s, when the first batch of young and enthusiastic fashion designers graduated from the Islamic republic of pakistan Schoolhouse of Fashion Design in Lahore, that the construction of fashion changed forever. Suddenly, there was a new guard that buzzed with concern on their minds. Information technology wouldn't be wrong to say that HSY, Maheen Kardar, Nomi Ansari, Maria B and Kamiar Rokni amongst others were to change the mode Pakistani style was seen and marketed forever.

In Karachi, designers like Sonya Battla emerged with a stronghold on design and business. Events like the Lux Style Awards and the Carnivale de Couture gave designers platforms to flaunt themselves on until fashion weeks rolled in 2008. And that was the kickoff of a new age altogether.

What we run into these days is the ultimate corporatisation of fashion. In a manner it's skillful because it urges designers to collaborate with industry-level players, as Maheen Karim and Sanam Chaudhri have with Bonanza, Adnan Pardesy with Working Women etc. Sana Safinaz and Sania Maskatiya are two names that take stepped into large-scale retail through flagship stores. All this means a better look for the loftier street at a lower cost.

The downside, however, is that not many young designers are committed to reviving arts and crafts and focusing on the gorgeousness of fashion. It is important that a balance be struck and one hopes that brands similar Sana Safinaz, Sania Maskatiya, Elan and Umer Sayeed will manage to continue the legacy alive.

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