UPDATE 1. DAY 1 – 7th April , 2012 PREVIEW
Coming from a sneak preview of Bunto Kazmi‘s treasure (collection is way too ordinary, mundane and lackluster for her masterpieces) she is going to show tonight at Fashion Pakistan Week (FPW). Again, even the most glorious adjectives pale and lose their power to describe them. Owing to my inadequacy and proficiency in the English language, I rely on cliches. She will show to the world that how beauty is created with passion when Divinity casts a kind, loving glance at an artist. These are not outfits but poetic, lyrical conversations between a creator and her Creator. As if she is saying: Hum ne sab perahan mein sanwaray thay, Tum se jitnay sukhan hamaray thay
UPDATE 2. DAY 1 – 7th April , 2012 REVIEW
FPW 2012, Day 1: Bunto Kazmi opened the week with her beyond description masterpieces Can’t think of more than what I wrote in sneak preview. Wish words danced to my thoughts as colours, stitches, fabrics dance to hers. It was mesmerising to see how effortlessly she absorbs influences from finest cultures of the world and translates them into imagery reflected through her embroideries and zardozi. Seeing art like hers leave me with an acute sense of poverty–poverty of thoughts, expression and creativity. But just as I consider myself lucky enough to have listened to Mehdi Hasan, Noorjehan, Iqbal Bano, Rita Gangoli, Nayyar Noor sing live, talked to Ismat Chughtai seen MF Hussain paint, I feel lucky to see her work up, close and personal.
Sanam Chaudhry: In the din of music, fashionistas chatter and drunk on the stupor of Bunto’s show, I distantly heard mention of Police while Sanam Chaudhary’s show was being announced. Mathira opened the show in hot pants. With hips like a hippos’ the ramp groaned and I mourned. Neon orange jackets that were supposed to be inspired from Police ones seemed more inspired from City District Government’s janitors’ jackets which you see on roads of Karachi late at night. The only interesting styling bit was neon stockings worn over shoes. The whole show seemed like an ode to janitors with a take on their on-duty uniform, and their supposed taste in off-duty choice of clothes. After Bunto’s spell, I had a crash landing back on the hard rocks of bad taste littered all over the fashion scene. From sublime to ludicrous! If neon was her favourite of the season, then she should have learnt a lesson or two from the Spanish designer Agatha Prada. The council should not have scheduled Sanam’s show right after Bunto’s. The discerning viewers had a culture, visual shock and senses were badly abused. The show left me reeling with one echoing question: Sanam Chaudhry has been designing good clothes, she herself wears very tasteful ones, then what happened? She is way too young to go through Mid-Life crisis.
Sanam Agha: Suffice it to say that her collection like compilation of clothes that were donated by the western countries and more westernized Pakistanis during the earthquake of 2005. And that too straight from the containers as they desperately cried for ironing along with aesthetic sense, or for that matter, any, just any sense.
Ayesha Farooq Hashwani: She surprised with her linear silhouettes, less volume and subdued choice of colours. Her brilliant pieces were white diaphanous tops—well cut superbly tailored- paired with black and beige skirts and flowing half sarongs. Occasional use of embroidery put in the right visual pleasure and balance in some numbers. Ayesha has surprised all and emerged to be the best tonight, of course Bunto is way above any kind of comparison. Ayesha has truly stuck to her sense of style, however, with a clear departure from her previous work. There’s a lot more to her than what meets the eye, and she is exploring and expressing her talent in an exceedingly tasteful manner. Surely, a season’s hit foreseen being followed and worn.
Pink: Owing to the rising number of fashion weeks in the country, it seems now the enterprising minds at Gulf, Kehkeshan and Ghousia Market, Karachi’s open secret for ready-to-make designer copies, have begun to offer ready-made Fashion Week collections. Pink was the debut of such collections. Confused is the best word that can describe Pink’s: if chamois satin voluminous dresses with diamante broaches crawled on the ramp, then plain silk kurtas thought why they should be left behind. I wondered what was the need that forced Pinky Agha to send those bland, bored, funeral/condolence/quran khawani pieces on the ramp. And the finale number was simply breathtaking: a long, loose top embroidered with butterflies! If Butterflies were immortalized by Manish Arora, then Pink made butterflies immoral!
Arsalan & Yaseer’s A&Y: After Sanam Chaudhry’s tribute to janitors, this one seemed like a tribute to hospitality staff. Butlers, waiters, chefs, guest relations officers uniforms in candy-floss colours were sent down the ramps. And then suddenly as if the so-called designers began suffering from creative nervous break down. The collection seemed to have been designed by a Zakhmi Aurat taking revenge from ‘mard’ and ‘muashara’ by expressing a desire to dress them in such hideous clothes. One just couldn’t go past the colours and forms to focus on tailoring. The label should be called Aah & Why?
Maheen Khan: The grand dame of Pakistani fashion showed what she is best known for: clean lines, uncluttered approach towards fashion, fine tailoring and 1980s. Faeyza Ansari’s black cowl-neck silk dress with chiffon scarf and Aman Ilyas frilled silver outfits were the show stealer. The show looked more like a negligee one with silky feel. However, when baggy shalwars, fierce jackets atop (call it potty shalwar) floated on the ramp, 1980s flashed past my eyes. Admittedly, 1980s were the most experimental, edgy era in Pakistan’s fashion, but that just doesn’t mean it was classy, too. Anyone who is today between 45 to 65 has followed and flirted with 1980s fashions. But we all left it there. Time Maheen also bade farewell to 1980s. In final analysis, it was a 50-50 collection.
UPDATE 3. DAY 2 – 8th April , 2012 REVIEW
Shehla opened the night and what a grand, beautiful opening it was! She does her magic again. Uber glam, ultra chic and ultimate sophistication, her collection crooned to the tune of glorious jazz. While remain true to her style, Shehla sculpted breezy, soft prints into stylish numbers. The best thing was her right lengths of cocktail dresses. One shimmery sequined dress was breathtaking just for its simplicity and fall. Jumpsuits never looked so formal and glamourous as they do when blessed by Shehla’s splendour. Shehla also showed her fine skills of draping, as if moulted gold and silver were cascading on bodies. The zardozi and work was used sparingly to enhance the effect and here again she showed her authority on finesse and quality. Shehla Chhatoor has proved that it really doesn’t matter how l senior or junior, pioneer or beginner you are, your work determines your position. Although an exception but She gracefully takes her permanent seat in the VIP enclosure of premiere league designers, which is mostly occupied by those who arrived early and worked tireless to get there. Unlike, many Shehla has proved that she is no media darling or a networker trying to earn the membership of the enclosure.
Kooki concepts has become Bhooki Concepts. Kooki seems so hungry for media coverage or is suffering from ramp addiction that he churns out collection upon collections forgetting that he is capable of coming up with a decent collection once in three years. Admittedly, he has a come a long way from where he started off but still he has light years to go before he can do even two a year. He has just shown in Showcase 2012 barely ten days ago. And that show had a couple of decent pieces marking his forward journey. But Uns, what he showed last night was a complete disaster. Claiming to use the heirloom status of handwoen banarsi brocades as not just his inspiration but also medium, Kooki crafted men’s jackets, shewanis from old banarsi saris. Applying the same concept in women’s long jackets, Kooki managed to stay afloat so long as it was rich banarsi brocades. One interesting feature was low U backs with multi pannels. The moment Kooki ran out of his collected ‘antique’ textile, and began using inferior quality woven textile, he fell not only from grace but taste too and drowned to the dark depths of ignorance and chaloo pun. Just one interesting tailoring technique or a jacket, he cannot build the whole collection, Kooki must understand this.
Romance, resort and relaxation. Aeysha Somaya’s first ever collection was all about these three. In various shades of pink, breezy, soft and feminine numbers in full and short lengths had elements evoking memories of spreading over from roaring ‘20s to now. While dexterous use of prints lent a quaint charm, various tailoring techniques added an edge that introduced an interesting twist to the collection.
The newly arrived British brand had its first public outing. Regular men’s casual wear dominated the collection. One black and white women’s top was good. The brand knew the regular value and visual appeal of its clothes, that’s why to boost the show Next sent little kids down the ramp showing its kids line. And that suddenly awoke the audience as it burst into applause. Apart from the children there was nothing spectacular, and was not even expected from Next as it’s just a high street brand , all about business and not creativity or innovation n design.
Bombed! All men’s wear collection are very difficult to sot through and keep one’s mind from slipping into clothes coma. But this one was extra ordinarily blah. Pointless, clueless… in short all less but cloth. He tried to recreate ‘70s & 80’s bush shirt which was commonly known as boo shut and safari suits. I would like to tell Tayyab that we have killed all the game, all animals but humans are fast becoming extinct and no goes to Safari now. Yes, the collection seemed fit for a trip to Safari Park in Karachi, if you know what I mean. One last entry just jolted me into disbelief for its extra ordinary ordinariliness. Green shirt worn over torusers with a tie. The model looked as of he was coming straight from duty–delivering a package on behalf of a courier company. Tayyab turned out to be a huge disappointment.
Again it sounds oh-so clichéd, oh-so lazy to use terms like King of Couture, Grand Duke of Design, Master blaster for Umar Sayeed. He has transcended beyond all these titles and is a place which requires new adjectives. And for that we need an Edward saeed or Noam Chomsky of fashionspeak, who sadly we don’t have. Till their arrival, I shall stick to simplicity– for a change.
Umar showed capsules of all his lines: Umar Sayeed Light, UmarBatul UB, Psyche and Couture representing prêt-e-porter, prêt-e-lux, trousseau and of course, his signature couture. Umar once again showed that like couture, the rest are also come naturally to him and he is equally at easily conjuring a bewitching simple out as he is a complex couture one. He sent opened with a jump suit in black n white print. Fine so what’s the big deal? The big deal is the juxtaposition of print creating the right visual balance while cutting the garment and constructing and adding a shock of yellow as a twist in lining, which glimpsed from under. Simplicity at its most charming chic! Then followed a riot of colours in finely tailored breezy tops adorned with black and white bead work around necklines and cuffs plunging backs. The beautiful thing about his long, flowing and breezy tops is that they are not tent’s, they have defined silhouette introduced by tailoring details like box pleating or pin tucks. Eternal B&W magnetism peeked from under in shape of printed loose trousers. A heady blend of elegance, cofort and style. Hands down winner, will fly from the racks in no time.
The Psyche line presented his signature magic: blending difficult colours together ad creating a spellbinding impact. This time he chose a falsayee or pale magenta with emeral green, colours normally no one would even like to cast a glance upon. Again tailoring consistency was evident in his signature cinching, pleating, ruching. The refinement of his craftsmanship remains unrivaled. His sense of pattern placement enhances the beauty of craft. And then the breathtaking couture. No words are required for that, just the mention is enough. However, in that glittering treasure trove what stole the show was a leherya dupatta adorned with Umar’s refined zardozi and antique brocade borders. He ushered leherya on the fashion scene and only he knows how to reinvent it.
UPDATE 4. DAY 3 – 9th April , 2012 REVIEW
Shamaeel was consistent in her collection. Beautiful, wearable, tasteful and stylish. Rust, tangerines, burnt oranges seems to be her favourite hue as once again she dexterously used the colour in a very diverse manners. I felt her collection was dominated by earth tones with a splash of black and red. Digital printing and embroidery were generously used to create depth and dimensions. She is safe, sound and superb. I again feel Pioneers like Shamaeel should have a separate platform and they are way too big for a fashion week.
“You can fool some of the people all the time, and all of the people some of the time, but you cannot fool all of the people all the time.”
Probably, Rizwanullah has not heard read Abraham Lincoln’s famous quote, nor has Fashion Pakistan or Pakistan Fashion Design Council. How long will he keep on passing off rags as clothes. Deconstruction wors once but if its was deconstruction again, then he successful destroyed the concept.
Forget designs, someone who calls and projects himself as a designer should know that lint on clothes screams volumes about your aesthetics, professionalism and your seriousness about fashion. The last black gown he sent down the ramp looked more like lint design…unless he wanted to make a statement, I am not sure. Anyway, what do I know about fashion?
And if he is so fond of patchwork which appears in every so-called collection of his, he should go and learn how to use the craft from Warda Salim or the new comer Ishtiaq Afzal Khan. Amna Ilyas wore a black asymmetrical jacket and the top underneath bunched up to form a thick tail peeing from under the jacket. One fails to understand if he wants to show clothes or shock. Maha wore a hooded chequered dress that was high enough to reveal the pubic and anal area.
It was a complete chaos instead of a collection. Colour blocking, floral and frilled dresses, volume and construction ….all thrown into a big box, shaken and slapped on the runway.
Poor quality fabric, terribly juvenile garment construction and bad palette were the salient features of his collection. He doesn’t even qualify to be in sewing class of matriculation in Home Economics or APWA charity school let alone on the ramp of a supposedly prestigious business event like FP 2012. Even white trash, cheap whores, drug junkies will rejected Rizwanullah’s collection as they also have an iota of self respect that is far more than Rizvanullah seems to have.
Monsoon & Accesorise
The British Brands sent regular, everyday wear clothes. Nice, simple, wearable for comfort and style. Couple of numbers such knee length front open summer dress was highly practical as can be worn with or without trousers. Children modeled the brands’ kids line. Sweet.
The debut of the label proved to be a refreshing change, and absolutely in true spirit of fashion week. Tops in chiffons which can be worn as separates or paired with trousers. Tastefully colour, blocked with a hint of tradition. Very wearable and aesthetically pleasing. Although, there was little consistency in palette, silhouette, as volumes rubbed shoulders with straight cuts. Having said that as a debut collection it seemed good and the label showed potential of growth if the designer duo keep on the same track and don’t get lost in the greed to sell.
With his all men’s collection he has once again shown his mastery over menswear tailoring. He has created niche for himself among corporate world In Karachi and Dubai by providing executive well tailored bespoke suits. But then corporate world’s monotony, inanity and conservative palette suit him most, his spring/summer collection screamed loudly. He just cannot handle colour or style or creativity. Sorbet coloured suits and loud bold prints constructed as teddy suits and shirts were a real explosion instead of riot on the ramp. While a couple fo shirts or jackets looked agreeable, the whole collection cannot survive on a couple of pieces. Secondly the short jackets and narrow torusers seemed more for the young, chirpy, cheerful and of course cheap. It seemed more for loafers, wayfarers and eveteasers than demure, decent and debonair. Perhaps, his target was Luchcha Lufangas, who knows. Again, the tailoring was flawless. So, he better stick to tailoring than venturing into designing and trying to be creative. Menswear is not everyone’s cup of tea. It requires fined skills and refined taste to put a decent, attractive, creative and yet wearable collection. While the former can be learnt, the latter is innate. And Ahmed showed that he is a good learner.
Gulabo by Maheen Khan
My, my, my! Gulabo floored me. Like the proverbial Reshman, Gulabo jawan hogayee aur kya zabardast bharpoor jawani hai. But unlike Reshman, Teer kamman naheen huyee but she has come into her own, an individual. True street chic. Maheen Khan created wonders with simplicity. Digital printed tops with harem pants, dresses, gypsy skirts, shirts cigarette pants all came together to create an effective but effortless statement how street fashion should look like. Continuing with her philosophy of taking inspiration from the streets of Karachi, Maheen adorned her pieces with digital prints or embroidery of rickshaw motif, popular slogans. Splash of colours on black and white prints enhanced the impact. The whole collection projected a carefree, chirpy, young spirit. The collection oozed a take-the-world-in-stride attitude and devil-may-care confidence which was not cocky or cheesy but just bold, beautiful and brazen. And the music! She chose all famous film numbers like Bunder Road se keemari, Khilti kali ko deh kar, tut trut trut tara tara that are heard in busses and streets, which added just the right kind of musical context to the collection. It’s just amazing to see Maheen who is pushing 70 come up with a terribly youthful, playful, effortless, and vibrant collection in a country where youth are actually confused and almost depressed and act way too intense for their age. Only if 63 per cent youth population of Pakistan starts dressing as Maheen envisions and suggest, Pakistan will be among one of the most stylish country in the world with a vibrant and dynamic street fashion.
Wardah paid tribute to Sindh’s culture. Sounds boring, clichéd and done-to-death? See the clothes, or pictures and you will be forced to review your opinion. The talented designer proved that she is a true design genius. This is the first time someone employed the phenomenon of Design Intervention and how! Taking Sindh’s signature crafts like ralli, block-print, vegetable dying, weaving, Wardah turned them around the way the crafts have been practiced and created a wonder. Using contemporary, modern silhouettes Wardah incorporated all crafts tastefully to create a global bohemian appeal. The collection can be marketed anywhere in the world with a taste for experimentation and appreciation for hand crafts. She introduced the trend of Design Intervention which is the way forward marketing our strengths. Her styling was also superb. She adorned boots with ankle bells of camels which created an effect of jaras, the lyrical sound echoes in deserts when camel caravans move. Wardah has done us immensely proud with her innovative, vibrant, modern collection based on centuries old crafts and textile techniques. To become big, all it needs is hard work, creativity, passion, global trends awareness and an urge to have an individual identity. And Wardah has t all and perhaps more. She is destined to rise!
Nomi Closed the show. Great entertainment, all latka jhatkas and loud Indian music….ingredients Nomi is known for. This time, according to his own admission, Nomi did not do anything experimental or western, which he did in earlier fashion weeks and proved his creativity and dexterity in. Clothes were safe and ordinary. Or rather below ordinary. Extremely commercial and anonymous without any signature. The collection could easily pass off as some copycat or bored aunty’s like Mina Hassan or Fiaza Farzana… And probably he realized this so he used to all media personalities to present it instead of models. And he achieved the goal, as no one remembered or paid attention to clothes and cheered Adnan Siddiqui, Hina Dipazeer, Maheen Khan, Shamaeel, Rukayyiah, Noor Hasan, maroa Wasti and others. Ahmed Butt also came and sang some song which was drowned in the cheer and clapping for celebrities. Nomi seems to lve circus. In Lahore, at PFDC fashion he presented a collection inspired by Circus. This time he created a fashion circus with media personalities. The show was another reminder that Fashion is still taken as entertainment in Pakistan.
UPDATE 5 . DAY 4 – 10th April , 2012 REVIEW
Finally, I am out of shock, nerves calmed and am able to put my thoughts together. While I am scarred for life, it took me about a week to recover from what we were subjected to in the name of fashion and clothes on Day4. Details ahead, but let’s just start with the finest, the best….
Every time I see their show, I want to kill Sana. Before he show she makes so much noise, appears so nervous about the collection whether it will work or not, good or not. And when the collection hits the ramp, it’s always very Sana Safinaz, always what’s expected of them. Sana’s hungama seems pointless, but then this is a sign of good professional who doesn’t let success go to her head.
Sana Safinaz sent pure glamour and glitz down the ramp in the form of beautifully constructed garments with relaxed, slouched chic, and nonchalant attitude—the collection reflected SanaSanafinaz personality, what they like to wear. Molten gold taking the form and shape of gowns, short dresses, high-wasted trousers, draped, layered tops and leaving Midas envious and ashamed of his shabbiness. Sana Safinaz ditched their favourite diamantes and flirted with sequins. The fine French gold braid embellishment on jackets established the duo’s understanding of craft and zardozi. Tasteful use of a splash of deep aubergine in the form of sash, fusing or velvet trousers broke monotony and added depth. Each piece was worth cherishing, each piece exuded glamour and each piece oozed glitz…a pure mine, 24 carat gold. The collection is for glamorous Divas and style icons like Madonna, Babra, Rekha, Nicole Kidman, Jemima Khan and Kate Moss. Sana Safinaz once again proved that the way they understand and create fashion, no once and come near them. When sophistication flirts with glamour, high fashion is born, and that’s what leaves desiring to clone the duo and use the fight against fast spreading bad taste.
“Kya Jinnah khusri thay?” was the first thought in the form of a shocked question echoed in my mind as Abdul Samad’s all menswear collection began rolling down the ramp. Because if Jinnah was not, Samad definitely wanted him to be—at least his collection reflected his desire.
Although Samad claimed to have tribute to Jinnah’s fine sartorial sense, what went on as introduction to the show had nothing to highlight that. Instead, it had Zai Hamid. It was so ironic and hilarious in essence and boring and stupid in reality to listen to The Red-Cap clown’s half-truth-half-white-lies jingoism as in ntor to a fashion show at a fashionweek, things he is ideologically opposed to. If that was Samad’s sense of humor (I am giving him the benefit of the doubt), then it was a good effort to make light of the Clown’s lies and jingoism. Instead of taking inspiration from Jinnah’s style, the blunder Samad did was to recreate his wardrobe, Now Jinnah’s suits were said to be tailored in Seville Row, not Khadda Market, and basic but most important point Samad missed. And then one brown suit just revelaed his weak understanding of not only men’s fashion but gentlemen too: as the old English saying goes, ‘No Brown in town’, brown suits are a product of poor fashion sense of the poor in the erstwhile colonies—probably, the poor’s revenge from the British Colonialists!
If for not making ill-tailored, cheap clothes and projecting Jinnah like khusri (I wish there was a translation for this delightful and comprehensive streetspeak term in English), then definitely for a tasteless show of patriotism, spreading bad taste in the form of Zaid Hamid and deriding serious fashion, Samad should be exiled to Saudi Arabia and for life be condemned to make clothes for Pakistani, Mallu and Tamil taxi drivers and other blue collar professionals.
The ace clicker sent his bags down the ramp. Chic, witty and a deep tasteful satire on the rising trend of extremism and moral pomposity against fashion, Tapu stole the week with his cleverly choreographed and style show. Images of Karachi landmarks, our style icons and pop art mingled and projected a fun, stylish and international bag collection in soft colours and interesting shapes. I particularly loved the steamer-trunk shaped bag. He sent his models clad in burqa and abaya carrying his bags down the ramps. And at the head ramp, in front of the photographers’ bank, models dropped their veils and revelaed their bare legs from underneath the black abayas, a powerful comment on the burqa-clad moral brigade who deride, condemn and put down fashion and all professionals involved in it but follow it to the tee. The abayas also reflected the identityless, wrapped existence of the moral brigade and accessories and bare legs expressed their desire to show off. Brrrrrrilant! Tapu’s bags were a treat for all those who appreciate kitch and pop art done in a classy manner. The show raised the standard of the week and brought it back to the point where Sana Safinaz left it after a severe drop in quality and elegance by Abdul Samad.I love Tapu’s creativity and sense of humour, and the show was crystalised both.
“Which one of you bitches is my mother,” asked Lace (played by Phoebe Cates in the famous 1980s series ‘Lace’ just don’t know why but Deepak’s collection brought to mind. Perhaps, because the collection had abundant use of lace. Or is it because the collection was as tacky and gaudy and unoriginal as some fashion 1980s? Or is it because Like Lace, his design sense is also looking for the one who inspired/gave birth to the idea to do womenswear? I don’t know. I think Deepak also doesn’t know. It had no identity, like Lace. Digital, print, gaudy embroidery, lace used to create, nah, make saris, ponchos, dresses…create is a sacred word and has originality. Deepak should stick to menswear. If this collection didn’t tell him that, then most probably nothing can.
Iman Ahmed of Body Focus:
Iman, The designer formerly known as Imrana Ahmed, once again showed that when it comes to simplicity, she remains the unrivalled master. First six numbers in ivory kora were just breathtaking. Their construction, draping, construction, tailoring and use of various techniques established Iman’s authority in fashion. They floated on the ramp like a vision, a dream not many are even able to imagine, let alone execute. It’s the most difficult task to create diversity from monotony and make a garment that lures, leaves the viewer spell bound for its sheer simplicity. And Iman not only did that but also proved that wearibility can be achieved in something that looks apparently impractical. Divided in parts, her second line was although reminiscent of her earlier collection as it carried pieces with greek and Turkish digital prints, they are also a proof of her dexterous cutting and irresistible simplicity. I felt that she should not have shown her embroidered or worked outfits as they borught the whole colelciton down a notch or two where she started from. Her subtle block prints in silks were superb. But nothing that came later could match the first six outfits for beauty, simplicity and sensuality. Or she should have kept the kora outfits as finale, a perfect crescendo. That’s why editing becomes a must. However, extremely tasteful, simple and beautiful. Bravo!
While launching her own line FeeJay, FJ and branching out from the grand old man of TeeJaay, Feeha’s collection paid tribute and celebrated lives of her sister Minaal and Rooha’s, her best friend Sana’s younger sister. Both girls left their loved ones for the better world recently leaving an indelible imprint and vacuum.
The collection mainly consists of wraps in various forms. With tops, Feeha’s cotton collection seemed perfect for a sultry, steamy, sizzling summer to produce a sense of comfort and cool. Highly wearable and positively stylish, Feeha’s collection was for the young, subtle and those who prefer effortless chic.
And the finale… the reason for delay in Day 4 review. It was grand, of Biblical proportions, surely an epic tribute to bad taste, atrocity in design and it seemed fit for a show of the costumes worn by angles of Hell ie Dozakh ki Hoorain. I am pretty sure that among angles there some drag queens too who would love to don Honey Waqar’s creations, if given a choice.
All adjectives to the effect of hideous, monstrous, atrocious, garish sound inadequate and accept defeat describing Honey Waqar’s collection. Therefore I shall rely on characters to paint an image of her collection. Imagine Cruella de Vil is fond of lace, hen-egg sized diamantes, rhinestones, brocades, lace instead of Dalmatian and furs. Imagine Cinderella’s step mother orders costumes for the with Saima Chaudhry in Faisalabad for the ball held in Gujrat. Imagine a Pushto cinema version of My Fair Lady with Musarrat Shaheen as Eliza Doolittle and Nim Sood (K-fame Indian soaps costume designer and stylist) as the designer. Imagine porn queens costumes from the Russians Czars era. Even Priscilla would cringe and refuse if offered to wear Honey’s outfits in The Desert on her adventures. She has self respect!
The best were rose embroidered in fuscia, size of a cauliflower and used as a motif in the collection. Julabo, one look and you get the worst kind of runny stomach. We all have heard and suffered from food poisoning, some fro alchohol poisoning but Honey should be rewarded for inventing Fashion Poisoning. But I don’t blame Money, oops, I mean Honey Waqar. She does what she wants and is good at. It was the Fashion Pakistan Council’s fault that not only allowed her to participate but gave her the finale. There was a strong rumour doing rounds that she paid 1 million rupees to get the slot. It would be appropriate here to clarify that on investigations, the rumour proved to be wrong as she was charged the regular fee for the slot just as all other designers were charged. That’s very ethical of the council, I must say because even the rumoured one million seemed so less, let alone the regular fee for the disgrace the finale brought to the Council. I wish the council charged her 100 million, then perhaps the finale would seem justified, at least the council wouldn’t have to worry about financial s for the next five fashion weeks. And 100 million doesn’t seem a lot for Money, I mean Honey Waqar, as she does a roaring business in India where people are willing to pay for bad taste. While Honey’s daughter glared at the press row sitting across the ramp (if looks could kill, that night there would be massacre at the venue), reportedly, Honey was disheartened by the way Karachiites received her collection and cried backstage. Well, as the old Urdu saying goes Geedar ki shamat aati hai tau sheher ki taraf bhaagta hai… Hoepfully, Honey has learnt a lesson never, ever to show in Karachi as she has more lucrative and appreciative markets to explore like Sahiwal, Gujranwala, Mandi Bahauddin, Candigarh, Bhatinda etc where money flows. What a come down for a week that opened with Bunto Kazmi, a day that opened with Sana Safiinaz, and both closed with Honey Waqar. What a great crash landing and the Council is responsible for it.