Rising Talent award by Bank Alfalah this time around was to be competed amongst professionals of sorts. Graduates who have been working for a year in this industry already, had an interesting mix of people who had their own individual styles and voices very different from each other.
Probably the most reatail-able collection, Sehr tareen’s ‘Neo Nouveau’ , featured identifiable Klimt paintings and his style of painting and figures treated in the form of embroidery of the ensembles. The silhouettes were pretty easy on the eye and simple letting the paintings take the centre stage. With jackets and dresses as major components this capsule had potential to go ahead for retail.
Light, reflection (yea thats why i put those ray of light pictures there ) and fusing it with Allama Iqbal and symbolism in his poetry, Hira Ashfaq’s capsule at times seemed more on an edge of a thesis collection rather than a working professional. While the colorful organza layering was interesting, the ball gown felt a bit out of place and a turnoff with that eye piece. The foil butt at one end and jewels on knee caps when everything else so ‘calm’ in its treatement felt like the designer did get carried away. The short dress with its layers again felt a bit baby doll-esque. The saving grace of this collection was probably the color palatte that threaded these ensembles together. What I was confused about was the general aesthetic and positioning of elements (unless you are going for that sort of edgy-ness but then other clothes did not reflect that).
Amna Malik was probably the one to who’s collection I responded well the most. Inspired by folds of origami and done up in raw silks, organza and leatherite, her collection was one of those studies in being understated. Limiting herself to the use of whites and golds this restraint capsule, used innvoative printing techniques (always a welcome to see designers explore new techniques) of rubber / silicone three dimensional printing lending a unique texture to the fabric. I loved the patterns and esp one of the harem pants. Minimal, nice and held back, the designer certainly knew where to stop at places and how much to include interms of print.
Combining varying concepts of infidelity and nationalism is always tricky. Hammad’s capsule left me sort of hanging in mid air regarding what to make of it. On one hand the guy has this concept going on for him with the betrayal towards the country and on the other the fact that he has been working for a year in the industry, and could have put up something better than the presentation on the runway tweaking that concept. In fabrics of cotton net, cut-work on chicken and lace in whites, off-whites, blues, pinks, golds, blacks and shades of red.Working with the idea of deconstruction, his clothes featured inside out seams in flared silhouettes. The shredded look did not quite work for me and the whole look felt a bit flat in trying to be edgy.
How many times will we ever see the gypsies, the bedouins with their coin jewellery. Playing upon the cliche of sorts, Sarah Awais’s dramatic veils combined military jacket effects with ensembles inspired by the photographs of a Japanese photographer of Bedouin women. Abundant use of coins, jewellery, metal with outfits in Midnight Teal, blue and crimson, this show felt a tad bit costumey with too much going on at the same time. While I did love the cutout detail on the shalwar of one of the ensemble (last one in the set above) the whole collection could have been better.
While each one of these debut designers have all the potential to go ahead and make it in the big bad world of fashion, when given a certain platform, one needs to make a certain kind of statement with an appealing aesthetic. I totally missed a Mohsin Ali or a Hamza Bokhari moment on the ramp. However I have to give it to them for presenting a cohesive collection, something that eludes many of the designers who get carried away.