![]() ![]() That for me, is what Pakistani runway experiences have turned into today. The term, in the discourse of art was understood as the filling of the entire surface of a space or an artwork with so much detail, that the viewer suffers from visual overload, instead remaining entangled in the whole space, without really being able to go into the intricacies of design. The Ottomans, a few centuries ago, were ardent fans of creating ornamented visuals and art that later were referred to as Horror Vacui. The sensory overload was enough to get any fashion critic knocked out of trying to look for what the clothes had to offer, instead being fascinated by the complementing nuances. There was perhaps more to look at here than all fashion weeks combined – everything but the collections, themselves. There have been secret gardens which turned out to be the backyards of nondescript houses, desi MET Galas which were a joke at best, museum installations that had everything but guests, beach excursions where personal moments outshined innovation in fashion, Mughal fiestas where the uninvited onlookers caused stampedes, and perhaps a trip to the moon (I wish the last one was true and not just a figment of my imagination.)īut, they were all pomp and no circumstance. Over the last three years since things took a turn for the worse, I can count on my fingertips, the ‘dazzling’ experimentations I have been invited to or have witnessed. ![]() It was also the lack of streamlining the runway – which in many cases didn’t even exist. For others, it was a failure to launch, which despite all the paid-press attention failed to really make any mark on the favorite buzz-phrase of the industry – ‘the business of fashion.’īut it wasn’t just the failure to make some moolah that made the shows an incubator for hackneyed experiments and confused approaches. And for some, it worked – enough to get their three years in the industry recognized as a feat to be celebrated. Instead, a number of designers and couturiers (you may attempt at guessing whom) gravitated towards what had rather been a display of monetary wealth earlier – the solo show. Gone were the days of 3-day long fashion experiences, a multitude of designers dotting the line-up, and a grand runway demarcating it all. Well, in Pakistan’s case, it seems that we have to at the runway.Įver since the world stopped being the way it used to be, courtesy of a certain city in the Far East, and the ensuing pandemic it unleashed on the globe, the microcosm of fashion in the country saw changes of a gargantuan order. More often than not, it has also emerged from necessity, as designers shed old skin and bring in the new, with either their ensembles, the production value, or themselves going through a metamorphosis. The experimentation holds an important place in the larger scheme of how design and couture is diffused to connoisseurs of style, and therefore has remained an integral part of the system. Sana Safinaz let the ensembles do the talking as they brought Iqbal’s Payam-e-Mashriq to the FPW stage in 2019.įashion, in its purest form, demands experimentation. ![]()
0 Comments
Leave a Reply. |