Derek Guy, the editor of fashion magazine Put This On, wrote how “beautiful Western-style tailoring is often worn by men from non-Western countries”. As examples, he presented three men: Emperor Naruhito of Japan, senior Nigerian economist Akinwumi Adesina and Shehbaz, each with his own signature style.

Guy quoted a post from the Government of Pakistan that showed the premier at the Antalya Diplomacy Forum. He stood out in a crowd of blues and blacks in his tailored, double-breasted beige coat with matching trousers. He paired the suit with a light grey shirt and a pair of dark brown oxfords.

We couldn’t exactly agree on what colour his tie was — someone said it was olive green, someone else said it had a tinge of brown to it, there was even a suggestion of it being grey. What we do know is that it looked great in the Mediterranean sun.

His accessories included pins on each lapel, a Pakistani flag on the right and a conference pin on the left.

In the tweet, Guy shared a second picture of Shehbaz to hammer home just how great the PM’s tailor is. The second shot was from the premier’s visit to Ankara last year and shows him wearing a similarly double breasted wool blazer in navy.

A pair of grey trousers created a slight contrast in the suit and white shirt provided the perfect background to a popping emerald-green tie. A pair of spit-shined black loafers completed the outfit and a set of silver buttons and a lapel pin added a welcome touch.

A quick glance at the Government of Pakistan’s X account shows Shehbaz is no stranger to ditching the bland black and blue suits everyone in politics seems to wear like a de facto uniform. After all, who can forget his many, many colourful safari suits and hats?

The two other leaders Guy praised had very different styles, but each was comfortable in his element. Dr Adesina wore a single-breasted pinstripe suit in navy blue with a striped bow tie adding a pop of colour. The Japanese emperor, meanwhile, wore a morning suit, keeping with established traditions of royal attire dating back to the reign of Emperor Meiji in the late-19th and early-20th centuries.

It was recognised as a natural progression of fashion, with lawn — a pedestrian fabric and a summer essential — being reimagined, fine-tuned and metamorphosing into affordable designer-wear. Designer lawn surfaced and it was comfortable, glamorous and even edgy at times.

The economy was changing and this made sense. Internationally, Armani had diffused to Armani Exchange and Alexander McQueen to McQ, and young guns such as Zara and H&M had sprung up on the High Street, offering trendy looks at a fraction of the prices of their high-fashion counterparts.

In the same vein, in Pakistan, Rizwan Beyg translated his love for phulkari, ralli and paisleys on to lightweight lawn. Shamaeel Ansari turned her eye for colour, texture and print towards lawn’s mass-centric domain. Sana Safinaz also extended their sophisticated signature to designer lawn, which became recognised as a covetable, glamorous, summer wardrobe must-have.

Once a humble, comfortable summer staple, lawn was transformed into a glamorous, designer-led phenomenon during the great lawn craze over the last few years — creating new careers, challenging designers and changing consumer behaviour. And then it all seemed to end. Why?

Lawn’s golden era

Lawn was all set to take over and the customer was ready for it. While textile mills continued to bring out their own seasonal unstitched collections, almost all of Pakistan’s motley crew of designers also chose to venture down the lawn route at one point or another.

There were those who were great at it. Others struggled to translate their couture aesthetics into lawn’s massy domains. Nevertheless, most of them succumbed to the lure of selling to an avid, massive lawn customer base. If they succeeded, the profits could be huge, and the prestige of being recognised as a ‘lawn mogul’ was irresistible.

These were the days when lawn exhibits would be held at popular public venues and crowds of women would gather there at the crack of dawn, just for the love of buying a lawn suit that had them smitten.

And when a suit was sold out, customers would become even more eager to get their hands on it, willing to pay double the price if need be. There would be such a rush to be the first to wear a lawn suit that enterprising women would arrive at exhibits with buckets of water in their cars: they would buy the suit, shrink the fabric right there and then, before handing it over to the tailor immediately!

In retrospect, it all seems fantastical and unnecessary and, yet, when lawn mania raged through the country, such stories would often be heard.

Designer Zara Shahjahan — whose unstitched summer collections are extremely popular — notes, “The world and the economy changed, the middle classes became more visible and everyone wanted access to fashion. Designer lawn was an inevitable result of this.”

And yet, somewhere along the way, the designer lawn bubble burst. Many designer lawns lost the ‘designer touch.’ So what happened?

The changing lawn

Rizwan Beyg, who spearheaded the designer lawn movement in the days of yore, says, “Lawn has always been there. Historically, it is a derivative of the Dhaka malmals that were popular in the Mughal era — a light, nearly transparent fabric that was a summer essential.”

He adds that Pakistan’s initial unstitched lawn lines came from textile mills that would just replicate Korean and Chinese digital prints on to unstitched fabric, which had no cultural relevance. “Designer lawn changed all that,” he says. “I added traditional elements characteristic of my aesthetic to the lawn collections I designed. For the first time, designer-wear became accessible to the mass market, available to all and sundry.”

But then something else happened.

“In the early days, a lawn design relied on print, screen, blocks and digital prints,” says Rizwan. “When designer lawn gained popularity, investors entered the market and focused entirely on gaining a larger share of the market. Price wars began and, suddenly, what used to be a simple summer staple for every woman became a bridal outfit masquerading as lawn.”

The creative and not-so-creative sides of lawn

The mad rush to entice customers led to what Rizwan aptly describes as a jhanjhalpura [a state of chaotic excess]. The basic cotton suit began to come with multiple add-ons: embroidery, additional borders that could be appliqued, chiffon, silk and organza swathes, cutwork and even smatterings of sequins.

The three-piece lawn had transformed into an eight-, then 12-, then 16-piece jigsaw puzzle!

Lawn campaigns were in a rat race of their own, with designers opting for exotic locales to add oomph to a collection. The elaborate lawn suit started being photographed in places where you would never dream of wearing lawn! Embroidered shirts would sway down the cobbled streets of Rome, a dupatta would flutter against the backdrop of the Mediterranean Sea, models would wear their high heels and navigate mountain tops, beaches and heritage sites in all their luxury lawn glory.

Touted as the ‘queens of lawn’ back when designer lawn was still trendsetting, Sana Safinaz would rule the summer sartorial season.

Designer Safinaz Munir recalls, “Our aim when bringing out unstitched lawn collections was to provide amazing fashion at affordable prices. Earlier, lawn was relegated to daywear, while women wore polyester as formal wear. We introduced lawn as an option for evenings. The fabric would be comfortable but also very formal. Every year, we would experiment and innovate.”

She explains that her team introduced chikankari bases, incorporated silk, added laces, and experimented with silhouettes. One year, they focused on the straight pant as an alternative to the shalwar, while in another, the white shalwar dominated their collections. They also dabbled in paste-printing, to prevent see-through shalwars, popularised new colourways, and innovated with digital embroideries.

Safinaz Munir adds, “We would produce our collections in large quantities, so that when a lawn suit would sell out, it would not be because stock was limited. It was because people had truly loved the design and bought it all!”

In all the madness, though, many designers were forgetting the whole point of designer lawn: to offer creative, original designs at an affordable price to the mass market.

“Designer lawn was supposed to offer customers a slice of high fashion, and introduce sharp, trendy options in the mass market,” argues veteran designer Maheen Khan. “Instead, Pakistan’s sartorial tastes deteriorated — from wearing starched dupattas and darted shirts we went on to wearing outfits drowned in nine separate pieces that the tailor could hardly figure out how to put together!”

She adds: “Just when fashion in Pakistan was finding its voice — structure, education, identity — it was hit by a massive lawn wave. Fast, loud and commercial, it washed away nuance, craftsmanship and depth. Fashion didn’t evolve — it drowned. And lawn took its place. Big brands took over and smaller fashion ateliers closed their doors.”

Lawn as a launchpad

Designer Kamiar Rokni, whose occasional trysts with lawn have always reflected his traditional, colourful ethos, agrees that lawn may have dumbed down actual design.

“Design is a creative endeavour that primarily caters to a niche clientele,” he says. “Lawn is a translation of this aesthetic, but design gets limited because the focus is on creating clothes that appeal to the masses. There is very little experimentation with silhouette or innovation with pattern-making.

“However, one can’t deny how lawn has transformed fashion. Credit goes to designers such as Hussain Rehar and Zara Shahjahan, who offset the ‘massiness’ of their product by elevating how it is presented. Creative campaigns, combining striking imagery and videos, have become the norm, opening doors for a young generation of creatives in their careers.”

Zara Shahjahan points out that lawn gave her and many other designers the opportunity to build their brands. “A brand like mine started off without any major investor on board and lawn was a lucrative venture, allowing me to earn enough to bring out more collections, open stores and invest in campaigns.”

Designer Faiza Saqlain adds that lawn gave her the opportunity to tap into a market that could not afford her luxury-wear. “Designing lawn was an eye-opener. My luxury formals and wedding-wear cater to a niche clientele, but there are so many others who find lawn to be a more economical option. A lot of women also prefer buying unstitched suits and having them tailored according to their body type.”

She continues: “My lawn collections are launched following detailed evaluations of the market. If Eid falls in the summer, around the same time that lawns enter the market, my focus is on coming up with a festive aesthetic, while sticking to the lawn fabric. There are also specific colourways associated with my brand that I like to translate to lawn.”

Does lawn dilute a brand’s aspirational value?

However, does lawn — affordable, easily available, boasting the name of a famed couturier — strip away aspirational value from fashion?

When labels, hitherto considered exclusive, suddenly start selling unstitched packets of lawn from the friendly cloth vendor on Karachi’s Tariq Road, do they suffer from becoming too accessible?

For Sania Maskatiya, the unstitched domain has been an inevitable extension of her label, offering options to customers on the search for formals in lightweight fabrics.

“Unstitched collections do not dilute our brand’s presence,” she maintains. “There are customers who enjoy wearing lawn. Others are on the search for more affordable options. We create our unstitched lines just like we design all our other collections, coming up with design elements that appeal to us.”

She adds that her brand doesn’t compromise on quality, which is why their summer unstitched line remains relatively expensive and niche. “The brand losing its impact over the market has never been a concern for us. In fact, our main priority has been to have our supply chains sorted and our design team organised so that we can cater to the demands for summer lawn efficiently.”

On the other hand, designer HSY counters, “A brand might lose aspirational value when dabbling with lawn, and we have seen this happen in some cases. The ones that have lasted in the long run are those that have stayed relevant with original designs, and worked in developing narratives that make their campaigns stand out.”

One remembers HSY venturing into the lawn market as well, more than a decade ago. His particular vision for unstitched stayed true to the glamour associated with his brand, with a lawn-clad Mehreen Syed on a private boat zooming along the Dubai coastline or reclining in a Rolls Royce Phantom. Why did he opt out?

“I realised that it would have been the death of my brand,” he says. “My brand’s ethos has always been very luxurious and I cater to a market where pricing and brand positioning are very important. Lawn’s mass market did not resonate with what customers expected from my brand.”

There were many other designers who had eagerly hopped on to the lawn bandwagon back when the fabric was considered the ultimate summer sensation, only to hop off it later, losing interest in the ride. Today, designer lawn — or rather, unstitched collections, since they include so much more than basic cotton — that remain in demand are those that truly reflect a brand’s unique aesthetic.

However, the fact remains that there are many lawn labels that are entirely forgettable, lost in a sea of embroidery, with no decipherable ethos. Has fashion’s lawn bubble finally burst?

One could say so. But before it did, it introduced new career paths in the industry, as the demand for innovative lawn campaigns heightened. Not to mention that it made the mass market more familiar with Pakistani fashion brands. But let’s not forget that, in many cases, it also did the Pakistani woman a disservice, brainwashing her into thinking that an 18-piece suit, drowned in embellishments, was actually ‘fashion’.

Lawn didn’t just change what Pakistani women wore, it left an indelible mark on Pakistan’s sartorial landscape, shaping both designers and customers, for better or for worse, for generations to come.

Originally published in Dawn, April 12th, 2026

Cover: Sania Maskatiya lawn

The star carried the Tobla bag in black.

She was styled by Erin Walsh and paired the bag with a gorgeous black Schiaparelli dress with gold detailing.

Hathaway is currently promoting her new film, a sequel to the 2006 cult classic with Meryl Streep and Emily Blunt. The second film reunites Streep and Hathaway as Miranda Priestly and Andy Sachs, a pairing fans have waited nearly two decades to see again.

The pair will be joined by returning cast members Blunt and Stanley Tucci with Kenneth Branagh joining the cast as Priestly’s new husband. The film will also feature Simone Ashley, Rachel Bloom and Lucy Liu and reported cameos from Lady Gaga and Sydney Sweeney. The film releases on May 1.

Hathaway is not the first Hollywood star to carry a bag from the brand. Earlier in October, Doja Cat wore the Hexella Baguette bag to the listening party for her album Vie.

Pakistani-Canadian star of Ms Marvel, Iman Vellani, was seen carrying a bag from the Hexella collection at the Gold Gala in Los Angeles. Warp’s popular amongst Pakistani stars too — Mawra Hocane was seen with one in Doha and Ayeza Khan had one with her on the Ramazan transmission Mehfil e Khas. Meesha Shafi was also pictured with an Accordion bag from the brand.

Cover via Erin Walsh/Instagram

In a post on her Instagram account, she said clothing brand Engine had used her face on AI-generated visuals for their latest collection. Images has reached out to Engine for a comment.

She said she modelled for the brand before, but was not involved in the promotions for this collection and had not agreed for her likeness to be used in such a way.

The content creator said she had tried reaching out to the brand herself in an effort to resolve the issue, but didn’t receive a response. That led her to highlight the issue on social media.

Tahir said this wasn’t just about one just about one post or one brand. “Using someone’s face through AI without their permission is not okay, in any situation. Consent should always come first, whether the content is real or digitally created.”

She said the fact that these visuals were being displayed publicly and even being used for advertisements was especially concerning. She said creators and models deserve to have control over how their image is used and hoped the brand would address the issue.

In a series of follow-up stories, the content creator said the scariest part was that she was initially fooled too, thinking she might have modelled one or two pieces that she forgot about. She said it was only when she saw they had used her face for so many of their items that she realised what had happened.

She said the problem wasn’t AI taking over jobs, but people misusing it “deliberately and illegally”. She also suggested they might have done a faceless shoot with another model and had AI paste her face onto the pictures, which raises its own problems.

Several people, including models and fellow content creators, shared her concerns, calling the brand out for what they saw as creepy, unethical and even criminal behaviour.

Many, including Miss Universe Pakistan Erica Robin, tagged the brand in the comment section, as did actor Romaisa Khan. RJ Sabah Bano Malik, who called out the “violation of consent”, “theft” and “general ickyness”.

Hania Aamir also got involved, sharing the content creator’s appeal on her story and asking Engine to “please look into this”.

While Engine has not acknowledged the allegations publicly, Tahir said the brand had removed her pictures from their website in the aftermath of her post.

The incident highlights AI’s alarming body-morphing abilities. Similar concerns were raised in January when Grok — the AI arm of the Elon Musk-owned X — was found to be entertaining requests to digitally undress people whose pictures were on the platform, including children.

Musk said the company would not tolerate any illegal activity with its AI tools and Grok’s image generation features on X are now available to paid users only. However, in a post on March 12, Musk said anything “allowed in an R-rated movie” would be allowed for Grok to create.

From breezy florals to all-black statements, here are the looks that stayed with us well after the sheer khurma ran out.

Hania Aamir made a strong case for saris on Eid

There’s something to be said about committing to a vibe and not overthinking it. Hania’s maroon blouse paired with a cream and gold lawn sari hit that sweet spot between festive and unfussy. The real charm, though, was in the details — a bare-faced (or at least convincingly bare-faced) look, a simple braid, and bangles in maroon, gold, and white that skipped the obvious Kashmiri churi trend.

Add to that mehendi dotted with those tiny, stud-like embellishments that have quietly taken over Instagram, and you have a look that feels current without trying too hard.

Saboor Aly said yes to the frock comeback

Saboor’s black and white frock-style kameez felt like a throwback in the best way, structured yet playful, with that elaborate rust gota-embroidered neckline doing most of the talking. She paired it with a black baggy shalwar featuring a broad border that mirrored the neckline, which tied the whole look together without feeling matchy-matchy.

Braided hair, statement jhumkas, and minimal makeup sealed the deal. It’s giving, festive, but also ready to sit cross-legged on the floor for Eidi distribution.

Yumna Zaidi balanced softness with statement

Yumna’s look was a reminder that subtle doesn’t have to mean silent. Her pale yellow kameez with a breezy floral print felt like spring in outfit form, paired with a plain net dupatta with just a whisper of sequins.

Dark green khussas grounded the look, while her accessories did something more layered — literally and otherwise. Kashmiri churis (very on-trend) were stacked with pink and green glass bangles on alternating hands, but it was her mehendi — reading “Free Palestine, No To War” — that made the look linger. Minimal makeup, open hair, maximum impact.

Sadaf Kanwal made a case for all-black Eid

Eid pastels are great, but Sadaf clearly didn’t get that memo, and we’re glad. Her all-black ensemble from her own brand leaned into drama with a frock-style silk kameez, flowy sleeves, and black embellishments that caught the light just enough.

The real twist was in the shalwar-trouser hybrid, loose at the top, fitted at the border, creating a silhouette that felt both relaxed and sculpted. It’s the kind of look that doesn’t scream Eid, but still completely belongs.

Saba Qamar delivered understated festive elegance

Saba’s pastel green peshwas-style kameez was one of those looks that doesn’t need a second glance but gets one anyway. White detailing and emerald-studded accents around the neckline added just enough richness, while her accessories kept things interesting — classic jhumkas paired with a nath that featured a delicate chain to the ear. Not bridal, not basic, just perfectly in-between. Sometimes the win is knowing exactly where to stop.

Zara Noor Abbas went playful, but polished

Zara’s cream ensemble from Studio Dilbar could have easily been just another neutral Eid look — but then came the hearts. A bold pink embroidered heart at the hem and a smaller one at the neckline gave the outfit a sense of whimsy, balanced by rust-gold detailing on the neck, sleeves, and shalwar.

She leaned into the softness with kundan pearl jewellery, teeka, earrings, and stacks of pearl-white bangles. It’s cute, yes, but also surprisingly chic.

If there’s one takeaway from this Eid, it’s that there’s no one way to “do festive” anymore. Whether it’s political messaging in your mehendi, hearts on your hemline, or just really good bangles, the looks that stood out were the ones that felt like an extension of the person wearing them — not just a checklist of trends.

Let’s start with the fashionistas. Saboor Aly brought out the cutest violet kurta with matching chooriyan. Paired with traditional jhumkay, the resulting photoshoot made our Eid morning special.

Kinza Hashmi didn’t hold back either, rocking a white outfit with a sharp, embellished red border and matching red coat on top. Her earrings really completed an outfit that would make anyone do a double take.

Merub Ali’s theme for Eid appeared to be pretty in pink and boy, did she pull it off. The hair, the makeup, the mehendi on her hand, 10 on 10, no notes.

Hira Mani kept it simple in what appears to be a blue and white peshwas. The jewellery included a tastefully selected set with blue stones to match her outfit and some infinitely trendy Kashmiri bangles.

Hina Altaf took the style game up several notches in a flowing peach lehenga that could have just as easily worked on a red carpet.

Asim Azhar played it very safe and wore a white shalwar kameez. Clearly, he hasn’t had the time to go through our Eid menswear guide. The pictures with his dad are adorable, though, so we’ll give him a pass.

Meanwhile, Zahid Ahmed absolutely did take our advice and wore a patterned kurta. We love to see fashionable men.

Most of these came in on Saturday morning, or in the afternoon, but that doesn’t mean we didn’t get some pre-Eid treats. Junaid Khan, who is in the United States right now, posted his Eid pictures on Friday night.

Ahmed Ali Butt also sent his Eid greetings to fans on Friday night.

While everyone looks their best on Eid, the true spirit of the holiday lies in spending it with loved ones. Malala Yousafzai had the right idea, spending the day with her parents.

Sunita Marshall chose to take things slow on Eid, spending the day with her husband and kids. The photoshoot is just family goals.

Cricket star Naseem Shah also spent Eid with family, leading to these photos of him and his brothers Ubaid Shah and Hunain Shah.

Faysal Quraishi didn’t wish fans on Eid this year, but his son did and it’s the most adorable thing we’ve seen all day.

Eid Mubarak, everyone!

It was a historic, debilitating rise that triggered panic at petrol pumps as the price hike would come into effect at midnight, on March 7. Horns blared until late into the night, with vehicles queuing in long lines to fill up on fuel before the increment came into effect.

The price increase, triggered by the ongoing US-Israeli war in the Middle East, occurred midway through Ramazan, a time when crowds flock to bazaars and malls for their Eid shopping. In the Muslim world, it is considered one of the most lucrative retail seasons of the year, with customers inclined to splurge, make impulse buys and stock up on clothes and gifts.

With the economy under stress and inflation looming, would people want to spend as they had in better times? And while they may continue to purchase necessities, would they be inclined towards indulging in shopping binges or luxury wear at a time when, in the near future, they may have to struggle to make ends meet, given the economic uncertainty?

The logical answer to this question would be a resounding ‘no’. After all, one would assume that stores and bazaars would be empty and, more specifically, fashion designers’ Eid collections would gather cobwebs, with customers no longer able — or willing — to purchase them.

Eid spending vs economic reality

However, some versions of reality tell a different story.

Just a week before Eid, mayhem ensued at the pop-up exhibit at a mall of Nia Mia, a popular high street brand. Huge crowds — eager to shop — broke down some of the installed barriers amid a lack of crowd control.

Historically, the market for luxury goods, including fashion, has invariably taken a hit during periods of economic uncertainty. However, until that ‘hit’ truly makes an impact, Pakistan’s Eid shopping crowds seem to want to shrug away their sense of impending doom and head out to the mall.

High-street heavyweight Khaadi, for instance, continues to draw in huge crowds. “Business has not been affected at all,” asserts the brand’s CEO Shamoon Sultan. “It is an unfortunate reality that Pakistanis have seen a lot and are very resilient. So, despite the crisis in the Middle East, their Eid shopping is continuing as usual.”

He continues, “However, on a macroeconomic level, if the hike in fuel rates continues, it can prove to be dangerous. It will result in an overall price increase across the board and we will feel the crunch in the following two or three weeks. I hope that the situation improves because, otherwise, wallets will definitely shrink.”

Uzma Ahmad, Director at Image Fabrics, echoes a similar sentiment and observes that business has been only slightly impacted by the war in the Middle East so far.

“We have a niche clientele that continues to make purchases consistently,” she says. “I also feel that we have managed to establish ourselves in the middle ground — between high street ‘massy’ clothes and high-end luxury wear — and offer an aesthetic line that is not only sophisticated but is also relatively affordable. So far, business has been doing well and we are expanding, with two stores all set to open right after Eid!”

The luxury segment holds it ground

The local market for luxury wear is similarly on a roll. For instance, designer Rizwan Beyg, who specialises in luxury couture, says that his Eid collection is selling well, with local customers remaining unfazed so far by the global economic climate.

Sania Maskatiya’s CEO, Umair Tabani, observes that the brand’s sales were helped by the fact that its festive Eid collection was launched some time before Ramazan, and credits the timing for this.

“Maybe, if we had launched later, when the crisis escalated in the Middle East, customers may not have been as eager to place orders,” he says. “We got lucky with the timing. Customers placed orders and made advance payments, and now, we’re just making the final deliveries.”

Designer Mohsin Naveed Ranjha believes the impulse to buy is emotional. “I think people just want to celebrate. They may be upset by what is happening in the world but, at the same time, they are happy to be at least safe.

“A slight dip in sales occurred around mid-Ramazan, when tensions escalated in the Middle East, but soon afterwards, people began buying again. And now, in the last week of Ramazan, business is doing really well, with many people rushing to buy their Eid clothes.”

Shezray Husain, CEO of multi-label boutique Ensemble, also comments on customers’ sentiments: “I think we are just a really emotional nation and Eid clothing holds sentimental value for us. We particularly obsess over what we want to wear on Eidul Fitr, considering it as a kind of ‘reward’ following a month of fasting.”

She continues: “I think perhaps, right now, the middle class is more concerned about the crisis in the Middle East and how it will affect their pockets. The customers who tend to frequent Ensemble, though, have yet to feel the crunch, and they are willing to make purchases right now. It helps, of course, that there are about 150 brands within our umbrella and there is a diverse price range to choose from.”

Global blues

However, on the international front, business for Pakistani brands is not continuing as usual.

“International deliveries are getting delayed,” confirms Mohsin. “[More specifically] deliveries to the Middle East are obviously affected and even orders to the US and Europe were routed via Dubai. They are now being rerouted and this is resulting in higher shipping charges and longer delivery times.”

Menswear designer Emraan Rajput adds that customers are also requesting that their international orders be placed on hold until the situation improves.

“A client living outside Pakistan had placed orders for a destination wedding that was scheduled to take place right after Eid. They have now asked us to stall production, as the wedding has been rescheduled for a few months later, when, perhaps, things may improve. Also, with tariffs on the rise, international shipments have become very expensive and customers end up paying more.”

He also adds that the domestic market has been affected, unlike many of his contemporaries.

“There are so many men who shop for their Eid clothes at the very last minute, with areas such as Karachi’s Zamzama area usually becoming clogged with traffic. This year, though, spirits are definitely down. Customers who would usually buy four kurtas are buying two, and those who purchased two are now purchasing one. The excitement simply isn’t the same.”

However, people are still buying, and it is interesting to note how customers’ shopping patterns vary between the high street and the market for luxury wear. They may be more hesitant to buy designer-wear priced well above Rs50,000, but their wallets still allow them to indulge in shopping binges at malls and during Eid festivals.

Fashion events: on uncertain ground?

On her part, Maheen Kardar, designer and co-founder of Laam Fashion Week (LFW), observes that shopping activity has been continuing as usual.

For instance, she observes that the recent Laam Festival in Lahore was a success. “The footfall crossed over 100,000 people during the four-day festival and people were shopping and celebrating,” she says.

She believes that, as a nation, Pakistanis have really experienced an extended period of peace, given that political upheavals continue to occur, as do strikes, healthcare crises such as dengue or Covid and natural disasters such as floods or earthquakes.

“This has made us very resilient and we just go on with life. I haven’t observed any dampening of spirits, be it at the Laam Festival or as far as the orders being placed at my design house Karma, are concerned.”

Rizwan Beyg concurs, “We are a nation that starts making memes in times of war. It’s not that we don’t realise the seriousness of the situation. It is just that Pakistanis have gone through so much that we now just simply go on with life and hope that things get better.”

But will this tone-deaf joie de vivre continue with the world at war, the economy perpetually teetering towards crisis and a volatile political climate that could, at any point, turn against Pakistan? It is unlikely.

The Hum Showcase fashion show – a three-day event tentatively scheduled to take place in April this year — has now been “put on the back burner”, according to its show director Rizwan Beyg. “Sponsors are understandably hesitant at this point but, once things get better, we hope that the event will take place.”

Cautious optimism

Fortunately, as mentioned earlier, the first LFW took place in early February this year. It was followed by designer Hussain Rehar’s solo show in mid-February and then, the Laam Festival — an Eid ‘bazaar’ — this Ramazan.

Featuring trendsetting fashion, major designers and impressive catwalks, these fashion events had undoubtedly rejuvenated the local fashion scene, making one hope that fashion weeks — having slipped into the shadows since the pandemic — were going to make a comeback and perhaps, finally, Pakistani designers would step away from generic, commercial apparel and be more innovative.

Now, given the economic outlook, will the next LFW, scheduled for autumn or winter this year take place as planned? “Yes, we will be announcing the date soon,” says Maheen Kardar.

They are brave and hopeful words.

The news headlines may fill one with a sense of foreboding but, right now, like many businesses, the business of Pakistani fashion is resolutely forging ahead, hoping that inflation won’t take over and that customers won’t get demoralised and stop buying, and that the global situation will improve.

As Rizwan Beyg puts it poetically, “Fashion, right now, is dented, but not dead.” But it is dented. That cannot be denied.

Originally published in Dawn, ICON, March 19th, 2026

While most guys are likely to go with the same solid-coloured kurta-shalwar combo they do every year — some might even get brave and get something that isn’t white — it doesn’t have to be this way.

So, if you’re willing to up your game when it comes to Eid fits or you have a man in your life who needs tips on how to do it, we’ve made this helpful guide on how not to look like every other dude at the daawat.

Kurtas

Starting off with the basics, you do not need to wear a plain white kurta every time the dress code demands desi wear. Sure, white is safe and works for everyone, but it’s also boring — and impossible to get saalan stains out of.

Instead, try wearing some other colours, like royal blue or purple. For the more adventurous, you can ditch solid colours entirely and try different patterns and even embroidery.

Different fabrics and textures can also add a touch of individual style, making the wearer stand out in a crowd of starched cotton.

Shalwars

The same ideas apply for the bottom half of the suit. You can try experimenting with colour, fabric and embellishments. Be warned, though, shalwars are a lot less forgiving if the combination doesn’t work out.

Alternatively, you can ditch the shalwar altogether and go for a pyjama instead. Made similar to trousers, the pyjama does away with the bagginess of the shalwar and works wonders if you’re not the type to skip leg day.

Footwear

This is arguably the most overlooked aspect of desi menswear and there are so many options. Let us be absolutely clear, you do not have to bust out the same pair of chappals you’ve been wearing for five years straight.

Khussas are a great addition to any man’s footwear collection and they add just a bit of a formal touch to any desi outfit. You can, if this all seems overwhelming, get them in basic black or brown and use them as a substitute for whatever you were going to wear in that colour, or you can get the ones with embroidery and motifs to really give your outfit some pizzazz.

Peshawari chappals are a staple, of course, but they don’t have to be in black and brown either, try getting a pair in blue or maybe even a suede pair. Kolhapuri chappals are also in, especially after Prada tried to sell them to unsuspecting westerners for $600.

Western footwear is also an option, although we’d suggest leaving your sneakers in the closet for Eid. Instead, try out some loafers or moccasins and see what works.

Outerwear

In our humble opinion, you can’t have true desi formal wear without a waistcoat or shawl. Now, we hear someone in the distance shouting about how it’s too hot for outerwear, but that’s all a game of fabrics.

A lighter, summer waistcoat works well to keep its wearer cool while also giving some shape to the outfit — kurtas can be unruly and easily creased. The idea, of course, is to maybe avoid the black ones, lest you look like that one uncle who dabbles in politics.

Shawls have a tendency to make one appear as if you’ll break into verse at any given moment, and they’re way too warm for March in most of Pakistan, which is where the odhni comes in. Usually made of cotton, it can give you the shairana vibe of a shawl without making you internally combust in 40-degree heat.

If you’re feeling particularly daring, ditch the shalwar kurta entirely and pair the waistcoat with a band collar shirt and trousers. Sure, it’s going to get you a couple of looks from some of the older people, but it might be the perfect blend of East and West for a more formal dinner.

Accessories

Men are often under the misconception that accessorising outfits is more of a feminine thing — it isn’t. When everyone’s wearing similar clothes, as is often the case on Eid, accessories are what will make you look like you put some thought into what your outfit.

Pocket squares are an easy place to start, with the right one adding a welcome pop of colour to an otherwise plain suit. We would, however, recommend wearing a waistcoat and not just placing one in a kurta pocket.

Buttons are also something you can play around with, getting a more ornate set for your waistcoat, possibly in a different colour or encrusted with stones.

Speaking of things that keep your clothes fastened, cufflinks are a great way to show off some personal style. With options now extending from initials to the usual gold and silver blocks or even superhero designs, you can choose to wear something that reflects your personality.

Lapel pins are also something that can add personality to an outfit, with a dizzying amount of options to suit all styles and tastes. Alternatively, you can just pin a flower to your coat; if it works at weddings, it can work on Eid too.

As a final note, we’ll just say you should wear what you’re most comfortable in. Eid is a joyous occasion, there’s really no point in ruining the fun by stressing out over clothes.

So, have a fun, blessed Eid and let us know your favourite holiday styles in the comments.

The 10-year-old designer has become the youngest person ever to showcase a collection at Paris Fashion Week, presenting his women’s ready-to-wear Fall/Winter 2026–2027 line earlier this month.

Max’s show took place on March 3 at the grand Palais Garnier in Paris, just days after he turned 10. According to multiple publications, including CBS LA and Vogue France, that makes him the youngest designer to ever present a collection at the French capital’s famed fashion week.

It’s a remarkable achievement for someone who still has primary school to worry about.

Max, a fourth-grader, began sewing and designing when he was just four years old and has steadily built a reputation as a dressmaking prodigy. His Instagram handle, ‘couture.to.the.max’ speaks for itself.

His Paris showcase featured a sustainable collection of 15 looks inspired by florals, reported People. The young designer said around 90 per cent of the pieces were made from sustainable materials, including deadstock fabric, surplus textiles, recycled bags and biodegradable materials.

The collection also featured creative reuse of unusual materials, including a corseted gown crafted from a French military parachute and a vintage sari that Max redesigned.

“I am happy I got to show the world my designs,” he said, adding that he hopes his work encourages people to rethink fast fashion. “Maybe [it will] encourage people to think about reuse and not buying so much fast fashion.”

Max made his debut at New York Fashion Week in 2024 when he was just eight. He also holds a Guinness World Record for being the youngest person to design a runway show at age seven on November 18, 2023.

During an interview in 2023, he jokingly told People he believed he might have been Guccio Gucci — the founder of Gucci — in a past life. “I actually was,” he said at the time.

By then, Max had already created more than a hundred designs, sold pieces internationally, staged his own fashion shows and even made a custom piece for actor Sharon Stone.

His mother, Sherri Madison, previously told the outlet that her son’s dedication to fashion was evident early on. “He’s just so committed to it, and he has so much fun. It’s truly his happy place, his studio, and even just playing with the material,” she said, recalling how the family initially thought the interest might just be a passing phase.

“For the first year or two, we said, ‘Well, tomorrow he’s going to be a cook.’ But it just stuck.” For Madison, her son’s achievements on the runway are only part of the story.

“It’s his golden heart,” she said. “Everything he does is with the intent of making people happy. His whole goal with these dresses is to make people feel beautiful — he says it all the time.”

Cover photo: AFP via Getty

The detailed designs and fine textures of the garments made in the central Tangail city won Unesco recognition in December as intangible cultural heritage reflecting “local social and cultural practices”.

But it has brought little relief to crowded local workshops where a shift to automated looms, evolving fashion choices, unstable yarn prices and a lack of government support have squeezed weavers at every turn.

Ajit Kumar Roy, who spends the day interlacing warp and weft threads while paddling the shuttle back and forth, says the honour has done little to ease his daily hardship.

“It’s all hard work,” the 35-year-old weaver told AFP as he worked the handloom he has operated for nearly two decades.

“Hands, legs and eyes must move together. If I make a mistake then there is a problem.” Men typically lead the weaving, dyeing and design work, while women prepare threads, apply rice starch and add finishing touches.

High-profile clients

Once considered a well-paying profession, weaving has suffered from a market slump that began during the Covid-19 pandemic and never recovered.

Roy said his factory owner used to run 20 handlooms but now has only 10. “Some factories have shut down entirely,” Roy said.

With demand falling and costs rising, many weavers have abandoned the craft, turning to driving or construction work to survive.

“We earn 700 taka ($6) per sari, and it takes at least two days to make one. How can a family of four live on 350 taka a day?” Raghunath Basak, president of a local sari traders’ association, whose family has preserved Tangail weaving for generations, fears the craft may end with him.

His ancestors migrated in search of weather and water suitable for weaving before settling in Tangail, nestled in a low-lying floodplain near the Jamuna River.

“I brought my son into the profession too, but I don’t know how he will cope after I am gone,” Basak, 75, said from his showroom, where shiny crests line the walls.

Despite high-profile clients — from political leaders in India’s West Bengal state to ousted Bangladeshi prime minister Sheikh Hasina, who wore his sari to deliver a speech to the UN General Assembly — Basak says the industry is struggling.

Cultural symbol

A halt to land-port trade with neighbouring India following a diplomatic fallout has also affected business.

“We used to export saris by road and import yarn when local prices shot up. Now land ports on both sides are sealed. Export has become almost impossible,” he said.

In the 1960s, the sari emerged as a cultural symbol as Bengalis in what was then East Pakistan embraced their ethnic identity. But consumer preference is slowly shifting.

Kaniz Neera, 45, buys two dozen Tangail saris a year, favouring their distinctive patterns and comfortable design, but worries that the younger generation is drifting away.

“Sari is integral to our identity,” she said. “My mother wears sari at home and outside. I wear it mostly outside. (But) girls now wear sari only on special occasions.” But researchers remain cautiously optimistic.

Shawon Akand, author of a book on the subject, notes that the Tangail sari is a relatively recent evolution by the descendants of Dhakai muslin weavers whose creations once captivated Mughal rulers and European aristocracy.

“The Tangail weavers inherited fine yarn techniques from their ancestors and adapted with unique designs in Tangail sari,” Akand told AFP. “Tangail sari will evolve. It will endure.”

Cover photo: AFP

The star wore a dress embroidered with their messages and carried their pictures to the event where she was nominated for the Outstanding Preschool Series and Outstanding Writing in a Preschool Series awards. She said she “told everyone about them and how we need to help in every way possible”.

In her Instagram post, she said she didn’t win — she lost the top prize to Sesame Street — but that she was happy to see so many people who care about children together.

The YouTuber thanked the Sudanese American Physicians Society and The Future of Congo for their support in the project. She also shared the messages she had taken to the Emmys.

Masajid, a little girl from Sudan, said she wanted to become an engineer to rebuild her country. Zahraa, seated with her, wanted to become a doctor to help cure people.

From the DRC, Saidati said she wanted to help people when she grew up by becoming a teacher like Accurso. Little Solange also said he was inspired by people who helped him and wanted to do the same for others.

The star is no stranger to speaking out for the children of the world, most recently telling world leaders to “Stop killing kids” after news emerged of a devastating US-Israeli airstrike on a school in the Iranian city of Minab which killed 175 people, including children.

She has been extremely vocal about standing up for children in other conflict zones including Gaza, Ukraine and Sudan. In November, she wore a gown carrying artwork from nine Gazan children when she was recognised as one of Glamour’s Women of the Year.

Accurso often lends her platform to relief organisations working on the ground to help children in these areas and even assists personally when some of these kids are brought to the US on humanitarian grounds.

The Met Gala — the over-the-top charity event turned fashion spectacle — returns on May 4 and this year’s theme reflects the spring exhibition at New York’s Metropolitan Museum of Art’s Costume Institute, which this year is “Costume Art”. The theme was announced in November, but the dress code was just revealed.

According to Vogue, the theme perfectly encapsulates the ethos of Costume Art, which explores the “centrality of the dressed body” through depictions and interpretations of the human form in the Met’s extensive collection. That collection features nearly 400 objects and pairs clothes from the Costume Institute with paintings, sculptures and other works of art history. The publication says the dress code “encourages attendees to consider the many ways that designers use the body as their blank canvas”.

What we take this to mean is we’ll either be seeing some amazing clothes inspired by great artwork or some absolutely lazy designs with artwork plastered on barely-there shorts.

“What connects every curatorial department and what connects every single gallery in the museum is fashion, or the dressed body,” said Andrew Bolton, the curator in charge of the Costume Institute. “It’s the common thread throughout the whole museum, which is really what the initial idea for the exhibition was.”

The Met Gala is always hosted by Anna Wintour, the former head of Vogue US and Conde Nast’s current global chief content officer and editorial director at Vogue. In addition to the fashion maven, this year, Beyoncé, Nicole Kidman and Venus Williams will play host, as well as members of the Gala Host Committee — co-chaired by Anthony Vaccarello and Zoë Kravitz. This includes Sabrina Carpenter, Doja Cat, Gwendoline Christie, Alex Consani, Misty Copeland, Elizabeth Debicki, Lena Dunham, Paloma Elsesser, LISA, Chloe Malle, Sam Smith, Teyana Taylor, Lauren Wasser, Anna Weyant, A’ja Wilson, Yseult, Adut Akech, Angela Bassett, Sinéad Burke, Rebecca Hall, Aimee Mullins, Tschabalala Self, Amy Sherald, and Chase Sui Wonders.

Jeff Bezos and Lauren Sánchez Bezos will also serve as honorary chairs as lead sponsors for this year’s gala and exhibition.

Cover photo via Vogue

A debut is never just a debut — it is a declaration. When LFW Presents launched in Lahore with a solo Hussain Rehar showcase at Islamia College on Saturday evening, it was clear this was not meant to be a quiet extension of Fashion Week. It was positioned as a statement about where Pakistani fashion stands: confident, commercially aware and unafraid of grandeur.

The choice of venue alone carried weight. The red brick façade and Indo-Saracenic architecture of Islamia College anchored the evening in history long before the first model appeared. Heritage was not simply referenced in the collection — it was embedded in the setting.

Then came the theatre. Directed by Fahad Hussayn, the production leaned confidently into spectacle.

Resham’s entrance on horseback set the tone immediately. It was dramatic, nostalgic and unapologetically cinematic. The energy in the courtyard shifted from anticipation to spectacle. This was not minimalism. This was statement dressing, staged with intention.

Rehar presented more than 60 looks, a significant number for a solo showcase. In a fashion climate where tighter edits are often equated with sophistication, this scale felt deliberate. Bridal dominated the narrative, though elements of luxury pret filtered through.

At times, the distinction between the two categories could have been clearer. With a lineup this expansive, segmentation becomes part of storytelling and more defined pacing between bridal and luxury pret would have strengthened the overall flow.

The styling itself demands a special mention; it operated as a parallel narrative, sharpening the collection’s heritage theme while maintaining modern clarity across the runway. It brought cohesion to the expansive showcase, creating uniformity without overstatement and paying due respect to the garments rather than competing with them. It was a masterclass in restraint and intention.

That said, within the scale were standout moments that cut through the noise.

A green mukesh sari worn by Eman Suleman became one of the evening’s most memorable looks. It felt iconically old school, evocative of heirloom bridal glamour, yet the blouse design introduced a modern sharpness that refreshed the silhouette entirely. It was heritage without costume. Familiar, but not dated. That balance is difficult to strike and here it worked.

The opening black ensemble, dense with intricate hand embroidery, also anchored the show strongly. Across the board, craftsmanship was consistent, stitching was immaculate, embellishment felt disciplined rather than chaotic. Even when silhouettes expanded into exaggerated proportions, construction held its integrity.

There were voluminous skirts, sculptural sleeves and deep, saturated hues. Velvet in crimson and burgundy featured prominently, along with metallic gold accents that reinforced bridal opulence. Nothing about the collection suggested reinvention. Instead, it felt like consolidation. Rehar remained firmly within his aesthetic vocabulary, refining rather than reimagining it.

The finale, walked by Ayeza Khan, underscored this strength. Cloaked in one of the collection’s richest colour stories, she delivered the kind of cinematic bridal moment the designer has built his reputation on. The deep tones were striking, controlled and impactful without veering into excess.

The men’s looks were solid but predictable, reinforcing the collection’s overall aesthetic rather than expanding it. Tailored sherwanis, structured jackets and traditional silhouettes were executed with the same attention to finish as the bridal pieces, yet they remained firmly within familiar territory.

While cohesive with the show’s heritage driven narrative, the menswear did little to shift perspective or introduce a new visual direction. It functioned as complement rather than conversation.

Beyond the garments, the audience composition and production quality signalled something broader. The right industry figures were present, the execution was polished and direction felt structured rather than spontaneous. LFW Presents is positioning itself as a curated, governance-led platform rather than an open runway format and that distinction matters.

Launching immediately after Laam Fashion Week was not coincidental. It suggests a shift toward a more sustained, year-round fashion presence in Pakistan. If this platform intends to build continuity beyond seasonal shows, it will inevitably raise expectations. Designers will not only need scale, but evolution.

Were there moments of repetition? Inevitably. A 60 plus look showcase risks familiarity. Some silhouettes felt safe. Certain embellishment choices leaned into predictability. Yet consistency in craft prevented the collection from feeling diluted.

What will define the platform’s longevity, however, is whether future editions encourage designers to move beyond refinement and toward risk. Because while refinement sustains a brand, reinvention is what defines an era.

And if this signals a revived, reorganised fashion ecosystem in Pakistan, then reinvention may be the next conversation the industry needs to have.

Cover photo by Syed Hussain Jamal

Sharing what he called an “almost win” on Instagram, Zaidi wrote that usually, “‘almost’ stories rarely matter. It only counts when you land it”. The caption added, “We custom-designed sets for Bad Bunny that almost made it to the Super Bowl stage.”

The pictures they shared included those of a customised white trapper hat, baseball cap and gloves, all embellished with metal floral embroidery, as well as some leather trapper hats with similar embroidery.

According to Vogue, Bad Bunny, styled by longtime collaborators Storm Pablo and Marvin Douglas Linares, took to the Super Bowl half-time show stage in a cream-toned ensemble comprising a collared shirt and tie, a sport-inspired jersey emblazoned with his family name Ocasio and the number 64, chinos and sneakers. As the first halftime headliner to perform his entire set in Spanish, his collaboration with Spain-based retailer Zara carried symbolic weight.

But in Lahore, another vision had been racing against the clock.

FOUND revealed that they had a press release drafted and ready to go, set to be distributed “the second the halftime show hit”. In the final days, however, the direction shifted, and Bad Bunny and stylist Pablo opted for Zara instead.

Behind the scenes, FOUND had been racing against time. The brand described artisans working through dozens of hours of painstaking hand embroidery in mere days. “A box was DHL rushed from Lahore, Pakistan to Santa Clara, California. Somewhere in the final days, the direction shifted. Ultimately, Zara won the bid for the full look. Apparently, they’re fast. Faster than most.”

Still, the tone of the post wasn’t bitter. Zaidi acknowledged that not long ago, even contending for a Super Bowl stage moment would have seemed impossible. Near-misses, he suggested, are part of the climb — reminders to keep taking the shot, because, as he implied, you never know when your moment will come.

Explaining why they chose to share a story that didn’t end in a spotlight reveal, the brand wrote, “We chose to share this because social media shouldn’t only be about the wins. There’s near misses that should be equally held. All of the attempts and countless moments that don’t land, but matter all the same. You’ll always miss 100% of the shots you don’t take.”

FOUND also thanked Bad Bunny’s team for including them in the journey. “The world is watching what comes next from the artist of our generation who is shaping a global world and all that is possible when you dream it into existence.”

The brand has previously created custom pieces for the global star across his tour, including a look they described in another post as a historic “exchange of cultures — handmade in Lahore, Pakistan by our artisans, where craft carries memory and every stitch holds intention,” sending their love to Pablo for the opportunity to dress an artist celebrated for his authenticity. Pablo also commented on the post, thanking them for the clothes.

Bad Bunny’s understated Super Bowl look, defying theatrical expectations, aligned with his long-standing personal approach to fashion. As Vogue noted, whether on stage or on the red carpet, the artist has always embraced an original and deeply personal style language.

FOUND’s near moment is part of a larger pattern — Pakistani fashion has been steadily carving a space for itself on the global stage. From Zain Ahmed’s Raastah being worn by Anil Kapoor, Barry Keoghan and Justin Bieber, to Palve’s hand-embroidered trousers appearing in Indian rapper Honey Singh’s ‘6 AM’ music video, local craft continues to travel far beyond borders.

This time, the spotlight didn’t land in Lahore. But the invitation did — and sometimes, that matters too.

What immediately set LAAM Fashion Week (LFW) apart was the integration of technology, commerce and fashion. Pakistan’s fashion industry has long existed as a fragmented space, with designers, retailers and consumers operating in silos. At LFW, it felt as though a single platform finally existed that brought these elements together in a cohesive and functional manner. The week felt commercially aware and clearly rooted in the business of fashion.

There were also unmistakable echoes of the Pakistan Fashion Design Council’s fashion weeks, which lost momentum nearly a decade ago. Rather than attempting to replace that legacy, LFW felt like a revival of its spirit, updated to reflect a digital and retail focused fashion economy.

The event was live streamed in over 120 countries, with all collections available for immediate purchase or booking via the LAAM app, including couture orders accompanied by free shipping. This seamless link between runway and retail highlighted a model with the potential to contribute meaningfully to Pakistan’s creative economy.

The approach also reflected a broader shift in consumer behaviour within Pakistan’s fashion market. Runway collections were no longer positioned as distant, aspirational spectacles, but as products that could be accessed, evaluated and purchased in real time. By collapsing the gap between runway and retail, LFW responded to a more cautious and digitally engaged consumer, one that is increasingly conscious of value, wearability and timing. In an economic climate where fashion purchases are more considered than impulsive, this model felt both timely and necessary.

Beyond individual designers, LFW also underscored fashion’s role as a wider economic ecosystem. A platform of this scale supports not only designers, but also production teams, artisans, stylists, technicians and supply chains that extend well beyond the runway. When fashion weeks move beyond spectacle and into structured commerce, they begin to function as economic infrastructure rather than seasonal events. If sustained, this model has the potential to strengthen Pakistan’s fashion and textile narrative in a way that aligns creativity with long-term industry growth.

The scale and breadth of participation alone signalled an industry eager to regroup. More than 35 runway shows took place across four days, drawing together a wide spectrum of designers and brands under one roof.

The opening showcases served as an ode to some the most recognisable names in Pakistani fashion names — Ali Xeeshan, Amir Adnan, Ammar Belal, Deepak Perwani, Élan, Fahad Hussayn, Feeha Jamshed, Generation, HSY, Huma Adnan, Hussain Rehar, Karma, Khaadi, Mahgul, Meeras by Nilofer Shahid, Mohsin Naveed Ranjha, Nomi Ansari, Rizwan Beyg, Saira Shakira, Sania Maskatiya, Shamaeel Ansari, Teejays, The House of Kamiar Rokni, Wardha Saleem, Zaheer Abbas and Zainab Chottani. The lineup underscored both continuity and influence within Pakistan’s fashion industry.

One of the most compelling segments of the week was the LFW Hot List, which spotlighted emerging designers from the Indus Valley School of Art and Architecture and the Pakistan Institute of Fashion and Design. Rather than feeling like a symbolic nod to youth, the showcase delivered confident and well resolved collections. In several instances, these presentations proved stronger and more coherent than those by established designers. The appearance of the Top 16 Pakistan Idol finalists on the runway added a layer of pop culture relevance to the showcase.

The young talent was a stark reminder to our more established designers that runway collections are not only vehicles for creative expression, but must also consider marketability, sustainability and scale.

It was against this backdrop that certain collections struggled to find clarity. Ali Xeeshan’s presentation, for instance, felt directionless and disjointed. The collection appeared more like a scattering of ideas than a cohesive body of work. Beyond the underwhelming spectacle, the designs lacked commercial viability, sustainability and any realistic potential for scale, making the showcase feel forced rather than considered.

In contrast, Fahad Hussayn’s collection, inspired by the recently-revived Basant festival, struck a careful balance between cultural reference and year-round wearability. The colour palette felt fresh, the detailing was precise, and the collection demonstrated clear retail potential. The pieces felt relevant beyond a single season, offering statement value without sacrificing practicality.

Nomi Ansari delivered a fun and fresh showcase that felt considered, showed potential for scale, and pushed the limits of fashion just enough to remain wearable. It was couture that listened to its audience.

A solid showing also came from Deepak and Fahad, whose androgynous pieces felt wearable and retail friendly. The collections reinforced the idea that design integrity and commercial appeal do not need to exist in opposition.

The strongest collection of the week, without contest, was presented by Mo by Mohsin Tawasuli. Defined by structured silhouettes and a restrained colour palette, the collection felt timeless, versatile and flexible. Designed to work across seasons and body types, it stood out for its clarity and refinement. While its retail pricing may prompt a separate discussion, the design sensibility itself was among the most accomplished on display.

Other collections disappointed for different reasons. Tena Durrani’s presentation felt recycled, offering little beyond a bid for visibility, while Souchaj’s designs appeared dated, revisiting aesthetics that show no real indication of a meaningful return.

Sadaf Fawad Khan’s collection demonstrated a refined colour palette and attention to detail, though it remained predictable. Saira Shakira and Karma continued with their established design languages, offering consistency over innovation.

Zainab Salman presented one of the strongest collections on the opening day, though its impact diminished as the week progressed and stronger showcases followed.

Among high-street showcases Kibo, Bulbul and Amna Ilyas stood out for their fashion forward thinking.

Ultimately, LAAM Fashion Week has set a new benchmark for fashion weeks in Pakistan, prioritising quality, integration and a clear understanding of the realities of the fashion business. Looking ahead to a second season, improvements in show management would strengthen the experience further, particularly fewer delays between showcases, greater respect for attendee time, and scheduling that avoids significant religious nights such as the 15th of Shaban.

Cover image: Zainab Chottani via Waqar Ahmed Butt/Paragon Studios

Inspired by the cultural energy of Basant, the collection translated movement and optimism into elegant silhouettes suited for traditional celebrations. A vibrant palette of sunlit yellows, fuchsia florals, and fresh green accents reflected the season in full bloom. Airy organzas, fluid silks, and softly-textured chiffons were layered in the designs to create depth while still being easy to wear. Designed for festive moments, the collection balanced heritage and contemporary styling with ease and grace.

LFW also showcased a collection of Mistfall by Panache Apparel drawing inspiration from nature and the calm of outdoor living. The collection featured softly printed fabrics and airy textures designed for ease and comfort during warmer months.

Gulrang by Urge Pret presented the audience with wearables that reflected a composed expression of strength and timeless beauty. Inspired by the natural grace of flowers that bloom with quiet confidence, the collection was designed for women whose presence feels assured and grounded.

Allure by Izna Hamza’s Sun at Noon presented a cross cultural dialogue shaped by African heritage and Pakistani craftsmanship. Drawing from tribal geometry, ceremonial silhouettes, earth-rich landscapes, and ancestral symbolism, the collection translated these influences through refined tailoring and detailed hand embroidery.

Bin Tayyab’s collection drew inspiration from classical architecture and traditional artistry, showcasing intricate hand embellishments, layered textures, and graceful silhouettes. Muted jewel tones defined the palette, reflecting sophistication while accentuating the richness of each ensemble.

Pehnawa by Bin Akram’s Amarbail celebrated South Asian heritage through a softer, intimate lens, reimagining tradition with contemporary grace. Inspired by Mughal artistry and vintage Pakistani silhouettes, the collection featured rich tissue, raw silk, zari organza, and badlazari, chosen for their movement, light, and historical resonance. Tilla embroidery, chatapatti, goti, sitara, beads, sequins, and hand-finished tassels accentuate each garment with deliberate detail.

Karma’s Dilruba marked Maheen Kardar’s fearless return to the runway after a decade, celebrating excess, emotion, and identity. Rooted in Desi maximalism and reimagined through a contemporary lens, the collection blended tradition — saris, flares, short shirts, shalwars, trousers, and flowing gowns — with modern proportions and movement. Designed for festive moments, Eid, and monsoon weddings, Dilruba is joyful, dramatic, and unapologetically expressive.

Meraki by Deepak & Fahad was a heartfelt exploration of craft, colour, and artistic expression. Inspired by the traditional ikkat weaving technique, the collection revived this fading art through intricate hand woven patterns in pure cotton yarn, complemented by styling pieces in linen. The palette drew from the works of Mark Rothko, with each ensemble reflecting the colours, moods, and abstract simplicity of his paintings.

Suroor by Sadaf Fawad Khan unfolded as a dialogue between heritage and contemporary couture. The showcase presented two distinct collections that reflected the evolution of the brand’s design language. The first revisited traditional, old-school aesthetics through refined silhouettes, restrained detailing, and a focus on craftsmanship, offering a timeless and composed expression of elegance. The narrative then transitioned into contemporary couture, where bold structures, rich embellishment, and theatrical scale took centre stage.

Day two’s finale featured The Conclave of Anti-Fashion by Fahad Hussayn, where he presented a ceremonial assembly of garments rooted in rebellion, permanence, and identity. The collection treated clothing as ideology, with silhouettes conceived as ritual objects rather than seasonal statements. Carefully composed colour stories supported the sculptural forms and symbolic detailing. Developed under the Fahad Hussayn Academy’s Art Collective, the collection existed as a series of collectible works, reaffirming fashion as a lasting medium for statement, artistry, and personal conviction.

The showcase also featured musical performances by Sheryar Rehman, Natasha Baig and Nehaal Naseem.

Originally published in Dawn, February 2nd, 2026

Taking to Instagram stories on Saturday night, Aamir drew a clear line between fashion that invites critique and moments that simply don’t. “Fashion critique makes sense on runways, campaigns, red carpets,” she wrote. “But I’ve seen too many brides turned into review material on their wedding day, and I genuinely don’t understand the point.”

Weddings, she reminded her followers, are not content farms. “Why is it so important to tear apart someone who’s just trying to live one of the happiest days of her life? Some moments aren’t meant to be rated. They’re meant to be felt. Empathy will always be more stylish than criticism.”

Actor Maya Ali echoed the sentiment, resharing Aamir’s post with a message of her own. “Very well said, love,” she wrote, urging people to stop playing critics, “especially for real brides”. Ali signed off with a blessing for all the beautiful brides out there that felt pointedly old-school in the best way: “Khush aur abaad rahein aap sab.”

Aamir’s comments came in the wake of online criticism directed at actor Sabeena Syed for her wedding outfit, particularly her Ali Xeeshan bridal gharara. Fashion bloggers and self-styled critics were quick to dissect the look, treating a personal milestone like a runway moment.

Syed’s experience is hardly an outlier. As the wedding season rolls on, brides continue to be placed under an unforgiving microscope, their choices parsed for originality, tradition, trend alignment and Instagram appeal. Grooms, meanwhile, largely escape this scrutiny, often because they play it safe, but also because the cultural expectation to perform visually still rests disproportionately on women.

The pressure is relentless. Brides are criticised if they experiment and criticised if they don’t. Too traditional, too modern, too loud, too muted, too extravagant — there is always a flaw to be found if the goal is to find one.

The problem, of course, is not fashion commentary itself. Pakistan has a rich and evolving bridal aesthetic, and critical engagement with design, craft and trends has its place. But the line blurs when real people, on deeply personal days, are treated as mood boards and marketing case studies.

That line was crossed yet again recently when Shanzeh Ali Rohale, bride of Junaid Safdar, was trolled online, and criticised by Indian fashion critic Sufi Motiwala for wearing a Tarun Tahiliani ensemble — the implication being that the look was invalid because actor Ananya Panday had previously worn something similar. The criticism ignored the obvious, that Rohale looked stunning, comfortable and happy.

Weddings, after all, are not red carpets. And if fashion commentary cannot make room for that distinction, then perhaps it is not commentary at all, just spectacle. And critism, as Aamir pointed out, is rarely stylish.

Bringing together star alumni and leading designers Sania Maskatiya, Nida Azwer, and Khaadi’s Saira Shamoon and Shamoon Sultan, the show was held to raise funds for the expansion of IVS’ campus, aimed at accommodating its growing roster and strengthening facilities for future generations.

Former model and fashion industry veteran Frieha Altaf, who attended the event in a vintage Sania Maskatiya ensemble, summed up the mood perfectly. Speaking to Images, she said she was there not just to celebrate the designers, but to support a cause that deeply matters. Calling Maskatiya, Azwer and the Sultans “very, very good designers,” Altaf reflected on how IVS is often associated with art and textiles rather than fashion — despite producing some of the industry’s biggest names

“We’re here to celebrate them, we’re here to celebrate, it is very important when there is a success story,” she said, reminiscing about having done Maskatiya’s and Sultan’s very first shows, and emphasising the importance of supporting scholarships and campus growth.

The evening began with a meet-and-greet in the courtyard of IVS’ iconic Nusserwanjee Building — a space many may recognise from Zindagi Gulzar Hai’s university scenes. The open-air courtyard was warmly lit, with long scroll-like fabric installations suspended overhead using fine wiring, creating a makeshift canopy in shades of blue, red and brown to represent the three elements.

The fashion show itself unfolded in IVS’ garden, with the stone masonry of the Nusserwanjee Building serving as a historic colonial-era backdrop.

The century-old building once stood as a warehouse and office in the busiest areas of Karachi, Kharadar. Named after Jamshed Nusserwanji, it was originally constructed by his father in 1903. An additional wing to the building was erected in 1919 using RCC for columns, beams and roof and coursed stone masonry. In 1991, the Nusserwanji building was destined to be demolished; simultaneously, the founders of the Indus Valley School were searching for an appropriate space to house the school. Through the support of the US Ambassador’s Fund for Cultural Preservation and US Consulate General, Sindh Exploration and Adventure Society (SEAS) and IVS successfully completed one of the biggest stone-by-stone relocation projects of its kind in the subcontinent, by relocating the building from Kharadar to IVS’ campus in Clifton.

Choreographed by model Vaneeza Ahmed, with Ali Allah Ditta on sound, the show was hosted by actor and IVS alumna Sarwat Gilani. Before the runway began, Dr Faiza Mushtaq, dean and executive director of IVS, addressed the audience, outlining the institution’s academic offerings, student body, and a three-year expansion plan. She invited those present to become “founding donors” for the new campus, which aims to add labs, classrooms and updated equipment.

Zubyr Soomro, chair at IVS, reminded the audience that what they were about to witness went beyond garments and glamour. “Tonight is a celebration of what our alumni can do, but more importantly it is a reminder of where it comes from,” he noted.

Singer and activist Shehzad Roy and musician Bilal Maqsood — part of IVS’ very first graduating batch — also took the stage, sharing personal reflections on the institution’s role in shaping Karachi’s creative ecosystem.

Each designer was assigned a single element from the three, and their entire collection revolved around that element.

The show opened with Shamoon and Saira’s earth-inspired collection. Earthy tones, natural dyes and handloom textures defined the line.

Browns dominated the lawn pieces, while solid colours featured in the handloom looks, offering a blend reminiscent of both Khaadi and Chapter 2. The designers experimented with airy silhouettes, pairing the outfits with tassel bags.

Water flowed next through Maskatiya’s collection, which leaned into softness and movement.

Pastel tones, organza, ruffles and fluid, mermaid-like silhouettes defined the line, with natural textures and an almost weightless quality that mirrored the element itself.

Fire closed the night in the form of Azwer’s bridal collection — dramatic, and layered. Moving through cool greys, ivories and rich reds, the collection bridged heritage and modernity with intricate “mirror, fine thread, vasli, resham and applique work”.

“I am showcasing a collection which is describing my entire design philosophy […] it is a beautiful collection based on fire, we have all the hues from sunrise to sunset,” Azwer told Images.

The night concluded with an address by legendary artist and founder of IVS’ Faculty of Design, Shehnaz Ismail, giving an apt ending to a night arranged to honour creativity, not just as a spectacle, but as legacy.

Owned by British makeup artist and industry legend Pat McGrath, the brand was initially set to go up for auction on January 7, according to Marie Claire. That sale, however, was put on pause when Pat McGrath Labs filed for Chapter 11 protection on January 22, allowing the company to halt the immediate liquidation of its assets and attempt a financial reset instead.

In the US, Chapter 11 bankruptcy allows a business to continue operating while it restructures its debts under court supervision. As New York-based financial planning and analysis manager Samuel Aboagye explained to Marie Claire, “They’ll continue running the business normally, but they have certain goals they must meet to pay back their debtors. If they don’t pay their debts (and by extension, their debtors) back in the timeline agreed upon, then they’ll cease control of the company or liquidate it for the funds and shut it down.”

Until fairly recently, Pat McGrath Labs appeared to be thriving on the surface. The brand remained highly visible online, backed by viral launches and glossy social media campaigns. Behind the scenes, however, employees reportedly described a far more pressurised environment, according to The Cut.

The bankruptcy filing comes in the same year that McGrath herself reached a major career milestone. In March 2025, she was announced as the creative director of La Beauté Louis Vuitton, the luxury house’s long-anticipated makeup line — a role that underscored her influence in the fashion and beauty world.

McGrath’s rise began in the 1980s, when her experimental, high-impact techniques quickly set her apart. In 2015, she launched Pat McGrath Labs, debuting with a $40 pressed gold pigment. The brand soon became synonymous with maximalist glamour, particularly its now-iconic $128 Mothership eyeshadow palettes and richly pigmented lipsticks that dominated both runways and red carpets.

In 2018, Pat McGrath Labs secured $60 million in funding from Eurazeo Brands, and within five years, the company reached a $1 billion valuation. By 2021, Eurazeo quietly exited its stake — a move that, in hindsight, marked the beginning of a more turbulent chapter for the once-unstoppable beauty brand.

Set for release on February 13, Wuthering Heights — starring Robbie alongside Jacob Elordi — reimagines Emily Brontë’s gothic romance against the brooding Yorkshire moors. Styled by Andrew Mukamal, Robbie wore a custom Schiaparelli couture gown featuring a lace-structured strapless bodice and a flowing petal skirt fading from onyx to red.

Paired with the gown was the evening’s most arresting detail: an opulent heart-shaped pendant mounted in jade and suspended from a custom gold, ruby and diamond chain. As Vogue reported, the necklace bears an inscription in Farsi (Persian) reading “Love is Everlasting,” alongside the name of Nur Jahan. The jewel was originally gifted by Mughal Emperor Jehangir to his wife as a symbol of devotion that has travelled centuries to land on a modern red carpet.

Robbie’s choice felt deliberate, echoing the grandeur of Old Hollywood romances. The same necklace was famously gifted to Elizabeth Taylor by her fifth husband, Richard Burton, more than five decades ago — another love story marked by excess, intensity and spectacle, NDTV noted.

How did a Mughal heirloom make its way to Margot Robbie?

The heart-shaped, table-cut diamond is believed to have first belonged to Empress Nur Jahan before being passed down to Empress Mumtaz Mahal, wife of Mughal Emperor Shah Jahan. It’s close association with the Mughals led to the jewel being called the Taj Mahal Diamond.

Centuries later, the piece was acquired by Cartier. Originally strung on a traditional Indian silk cord, it was later reimagined by Cartier designer Alfred Durante, who created a gold and ruby chain adorned with rondelles and tassels. In 1972, Cartier president Michael Thomas presented the necklace to Elizabeth Taylor and Richard Burton at New York’s Kennedy Airport International Hotel, after Burton sought Valentine’s Day and birthday gift ideas.

Thomas later recalled Taylor’s reaction: “I love this — tell me more about it.”

Burton waited before purchasing the piece, eventually surprising Taylor with it during an extravagant birthday weekend in Budapest while filming Bluebeard, according to NDTV.

The necklace went on to make history when it sold for $8.8 million in December 2011 as part of Taylor’s estate, setting a record for Indian jewellery at the time, Vogue reported.

Now, decades later, the Taj Mahal Diamond has resurfaced — not in a museum, but under the flash of cameras — worn by Robbie as a nod to enduring love stories, both fictional and real.

This move signals a “strategic shift” in how the brand aligns creative presentation with commercial execution. Parishae explained it thus: “Select looks from the collection will be available across retail channels from the day following our show, shortening the traditional gap between runway debuts and customer access.

“Our focus is on building a system where creative direction, production planning and retail timelines are in convergence with one another. By reducing lead times and bringing the runway closer to retail, we can respond more intelligently to demand, manage our inventory with greater precision, and create collections that are both culturally relevant and commercially viable.”

The world over, international design houses employ the runway-to-retail approach to streamline production, minimise excess stock and ensure that key pieces reach customers, all the while ensuring that the relevance and momentum of a showcase remain intact. The approach also reflects a broader effort to strengthen supply chain coordination.

The show must go on

Even though the smell of burning ashes lingered in the air due to the Gul Plaza inferno a short distance away, the well-heeled and the fashion set flocked to the venue in support of the young CEO of the House of Amir Adnan.

Parishae’s Darbar collections did not signal a dramatic departure from the brand’s design and craft identity; instead, they extended the House of Amir Adnan’s legacy of quiet luxury, detailed craftsmanship and high couture standards.

Dressed in a body-hugging black-on-black embroidered long dress with an illusion neckline and a button-down back, show opener Daniya Kanwal launched the show with a custom-written rap song that narrated the essence of the Darbar collection. It addressed social hierarchy, fashion as currency, and the invisible power dynamics that shape who is seen, valued and remembered.

The collection unfolded as a three-part narrative — “inheritance”, “tension” and “command”. The opening segment featured rich handloom brocades, flowing silks and sheer organzas in soft pastel shades. Pearls were used to accentuate the embellishment factor, and a pearl halter top bustier stood out prominently, as did another print choli lehnga ensemble. In menswear, ornate, multi-tiered and layered panel sherwanis stood out in rich fabrics, as did an angarkha-cut shirt worn over a dhoti shalwar.

The mood then intensified with richly textured surfaces and intricate hand-embroidery before concluding with sharply tailored silhouettes in matador-inspired capes and costumes.

Velvets, brocades, deep maroon and Goth-black with gilded accents presented the next fashion statement, with embroidered lapels and panels on jackets that denoted authority and control, as well as a brocade pantsuit in women’s wear.

The show’s direction was led by Almitra Mavalvala and DOP Ayesha Noor Kurd, with grooming by Ngents, styling by Tabesh Khoja, and hair and make-up by Nabila’s.

Fashion meets history

Built in 1906 and now a designated cultural heritage site, Khaliqdina Hall is a masterwork of Palladian architecture designed by the celebrated Iraqi-Jewish architect Moses Somake. It now functions as one of Karachi’s most historic libraries and a community landmark.

Khaliqdina Hall was once a venue for British colonial courts and the famous 1921 Trial of Sedition, the British crackdown on the Khilafat Movement, with the Ali brothers (Muhammad Ali Jauhar and Shaukat Ali) among the defendants. The trial became a symbol of resistance to colonial rule, with the accused defiantly challenging British authority, cementing the hall’s historical prominence. Its enduring structure and civic purpose make it an ideal setting for an event rooted in sustainability, cultural continuity and modernity.

The choreography made full use of the spacious teak-panelled side exits, with models making their way through them and weaving through the seating aisles before stepping on to the improvised ramp, which had a large suspended centrepiece inscribed with the Urdu script. The movement of the models and their visibility in proximity to the audience was executed with precision and impeccable timing.

Venue partnership and on-ground coordination for the show were supported by Numaish-Karachi, directed by Saima Zaidi, with core team members Durriya Kazi, Zoya Alina Currimbhoy, Nabiha Ahmed and Sabeen Nazeer facilitating the execution of the showcase at the historic site.

Parishae herself can be viewed as a work in progress, who is being inspired by and drawing strength from The House of Amir Adnan’s decades-old credibility and legacy, while armed with her own vivacity, vitality and the business acumen that has been shaped by her student days at the London School of Economics.

Here’s to even bigger and greater things from her in the years ahead.

Originally published in Dawn, ICON, January 25th, 2026

Cover photo: Talking Point

The news was announced in a sweet Instagram post shared by the brand’s official page on Friday.

“I’m proud to introduce our very first Jacquemus Brand Ambassador: my grandmother, Liline Jacquemus. Before anything, there was her. The original icon,” read the post.

Liline was born in 1946 and raised in Alleins, a small village in the south of France. “She grew up surrounded by fields, sun, and simplicity, raised by a strong Italian single mother. Before Jacquemus existed, she was already my inspiration. Her strength, her elegance, her authenticity… she shaped the way I see women, and the way I imagine this Maison,” it said.

“We love her, we’re obsessed with her,” said the post, adding some “commitments” of being their ambassador, including adhering to a “full look policy” at all times, the brand having final word over every glam, hair, makeup, silhouette, and styling proposal, and the ambassador attending every show “as if it were a family dinner, front row, without discussion”.

“The ambassador must not be seen, photographed, sketched, remembered, or emotionally associated with any Maison that is not Jacquemus. The ambassador must not pronounce the names of other fashion houses,” read the stipulations, veering into the comical. “The ambassador must not wear any other brand, archive, label, or ‘just something comfortable’; comfort is conceptual. The ambassador must not like other brands’ posts, ever. The ambassador must not use the word ‘brand’ and must instead say ‘family.’ The ambassador must always answer the question ‘Are you exclusive?’ with: ‘Bien sûr!’ [of course]. The ambassador must not remove Jacquemus pieces at home, at night, or in dreams. The ambassador must smile. Always. As we should all do.”

WWD noted that Liline is a regular at Jacquemus shows, and made her modeling debut for the house in 2020. “Long before the brand existed, she was already a source of inspiration. Her strength, elegance and authenticity have shaped Simon Porte Jacquemus’ vision and continue to define the spirit of Jacquemus. For him, she embodies the ultimate Jacquemus woman,” the brand said in a statement shared with the publication.

The brand — you might recognise some of their ludicrously tiny bags — is no stranger to star power and has several celebrities be part of its campaigns and runway shows. Think Gigi Hadid, Kendall Jenner, BLACKPINK’s Jennie and Emily Ratajkowski. But this move has the internet and the fashion world tearing up over how sweet and sentimental it is.

Founder of his eponymous brand, he built a global fashion empire and introduced the iconic “Valentino Red”. He retired in 2008 after rising to the top of haute couture.

Giancarlo Giammetti, Valentino’s partner in business and life, posted his picture on Instagram captioned “forever”. Others who knew and respected the fashion icon in business and life paid their tributes as well.

Maison Valentino

“We share with heartfelt sympathy the grief of his loved ones and we remain committed to preserving and elevating the valued creative, cultural and human heritage he entrusted to us, upon which Maison Valentino is founded.

His life was a beacon in the ceaseless pursuit of beauty, and guided by that same beauty, we will continue to honour his memory with our deepest devotion.“

Italian Prime Minister Giorgia Meloni

“Valentino, undisputed master of style and elegance and eternal symbol of Italian haute couture. Today, Italy loses a legend, but his legacy will continue to inspire generations. Thank you for everything.”

Actor Sophia Loren

“You had a kind soul, rich in humanity. You were a friend, and your art and passion will forever remain a source of inspiration. It was a privilege to know you and I will always carry you with me. My family and I extend our hearts to your Giancarlo and all your family.”

Fashion designer Donatella Versace

“Today, we lost a true maestro who will forever be remembered for his art. My thoughts go to Giancarlo [Giammetti] who never left his side for all these years. He will never be forgotten.”

Luca de Meo, CEO of Kering

“Valentino elevated elegance into a universal language, blending tradition and audacity with rare precision. His legacy remains one of the strongest expressions of Italian culture. My thoughts are with his family, his loved ones, and especially with Giancarlo Giammetti. His spirit will continue to live on through the house that bears his name.”

Alessandro Michele, creative director at Maison Valentino

“Valentino Garavani was not only an undisputed protagonist of fashion, but a central figure in Italian cultural history. A man who pushed the boundaries of possibility, traversing the world with rare delicacy, silent rigor, and a boundless love of beauty.

He leaves us all a profound legacy: the idea that creating means caring, that beauty is radical and patient attention to bodies, to forms, to the time that passes through and preserves them.“

Pierpaolo Piccioli, creative director at Balenciaga

“For you, beauty was never a luxury nor an ornament: it was a form of defence, a place of safety, the only one possible. A protection, a shield against the world. You were my mentor without ever needing a lectern; you had no need of one. You taught me that fashion is joy, though a profoundly serious kind of joy.”

Model Cindy Crawford

“I’m heartbroken to hear of Valentino Garavani’s passing. He was a true master of his craft, and I will always be grateful for the years I had the privilege of working closely with him.”

Model Claudia Schiffer

“He is what true legends are made of, living on forever through the brand he created, the embodiment of timeless elegance and glamour.”

Singer and former model Carla Bruni

“He was a master, and it was an honour and a great privilege to know him and model for him, and I will always remember his great kindness and infinite elegance. My thoughts go out to @giancarlogiammetti and the entire Valentino family. Rest in peace #valentino.”

Fashion writer Suzy Menkes

“Intensely Italian in his passion for decoration, yet also international in his attitude and his designs, the spirit of the company continued beyond his own creation of a luxury brand. Looking back, Valentino was the last member - and leader - of gorgeous glamour delivered to the upper crust of the fashion world.”

Italian Gay LGBT Party

“We want to remember Valentino Garavani not only for his ‘Rosso,’ but for the courage of a life lived in the light of day with his lifelong partner, Giancarlo Giammetti. His coming out, expressed with the naturalness of greats, broke down barriers in an era when silence was the norm.”

Carlo Capasa, president of the Chamber of Italian Fashion

“His creations became symbols of style and glamour, worn by the protagonists of history and by central figures of international cultural life. His aesthetic, coherent and rigorous, never chased trends, but he was able to unite artisanal heritage and modernity, contributing decisively to the global recognition of Italian fashion.”

Cover photo: Reuters

On Saturday, the couple solemnised their marriage in a sunlit nikah ceremony at the Lake City Golf and Country Club. The newlyweds then hosted a reception on Sunday. Junaid did not hold back on the pictures, posting a number of shots with his wife and even one with his mom. In one of the posts he shared on his Instagram, he affectionately penned, “You know, we thank some people for merely living at the same time as we do.“

The groom wore a tasteful ivory sherwani with gold buttons from Hassan Sheheryar Yasin paired with a matching pagri (turban) adorned with gold detailing, coupled with a dark pair of loafers. The bride was clad in traditional red, opting for a stunning sari from Indian designer Tarun Tahiliani and a matching veil. For jewellery, Shanzeh chose a contrasting diamond and emerald set. For her makeup, she kept things understated with kohl-rimmed eyes and a nude, glossy lip.

CM Maryam, keeping with the spirit of the celebration, wore an ornate pistachio-green Iqbal Hussain ensemble with a gorgeous gem-encrusted set and a matching tika. She carried a matching Valentino purse to complete the outfit.

The event was attended by several senior officials, dignitaries and party members from Pakistan Muslim League (Nawaz). Party supremo Nawaz and his brother, Prime Minister Shahbaz Sharif, can be seen behind the couple in Junaid’s Instagram post.

The vibe was cooler for the valima on Sunday, where the newlyweds chose Pakistani designer Faraz Manan. The closing night of Lahore’s royal wedding was celebrated at the Sharifs’ Jati Umrah estate and had an almost farmhouse-like feel with horses making an appearance in many of the pictures.

The groom, once again, didn’t disappoint as he shared glimpses of their final event. The caption this time read, “Once in your life, if you are very lucky, you will meet the person who divides it into the time before you met her and the time after,” hammering home the fact he’s starting a new era.

As for his valima, Junaid once again went for a sherwani - this time, albeit a grey one. His outfit complemented his bride’s lilac Faraz Manan lehenga with silver detailing. The veil-like dupatta also worked well with her stunning outfit. Like her baraat jewellery, Shanzeh opted for a delicate diamond set to complete her look. For her valima, the bride opted for a look similar to her baraat makeup, this time softening the eyes with delicate pink tones.

It won’t be wrong to say that CM Maryam, however, once again stole the show with a beautiful pink and turquoise anarkali from Nomi Ansari with matching jewellery.

While the events have concluded, we wish the couple the very best in their life together.

On Thursday night, Safdar shared a glimpse from the first of his wedding festivities, the mehendi, held at the Sharif family’s Jati Umrah residence in Lahore. The image captured a tender moment on stage, with Safdar welcoming his bride-to-be, Shanzeh Ali Rohale, the granddaughter of Nawaz Sharif’s longtime ally and former MNA Sheikh Rohale Asghar, as Maryam Nawaz placed Shanzeh’s hand into her son’s.

“But once in a while it happens. Once in a while, the dream comes true. And the whole pattern of life is altered. Once in a while, the moon turns blue,” Safdar wrote in the caption.

For the green-themed evening, Safdar opted for a custom-made navy blue cotton shalwar kameez paired with a waistcoat by HSY. Gold buttons on the waistcoat and a brown shawl draped over one shoulder added just the right amount of grandeur, lending his look a regal edge.

Shanzeh, meanwhile, looked every bit the bride in a Sabyasachi heritage collection emerald green lehenga. The intricately crafted traditional ensemble, woven with muted purples, greens and maroons, worked perfectly against the mint green and pink rose backdrop. A tea-pink dupatta draped over one shoulder added a softer layer to the entire outfit.

Shanzeh paired the lehenga with statement kundan jewellery, while Saad Samie, the renowned makeup artist, tied the whole look together with a nude look.

The reception and valima for the couple have been scheduled for January 17 and 18, respectively. The valima will also take place at Jati Umrah, former information minister Pervaiz Rashid told DAWN.

For Junaid, this is his second marriage after he married Ayesha Saif Khan — daughter of Saifur Rehman Khan, a former chairman of the National Accountability Bureau — in 2021. Their wedding was opulent, with a swanky London nikah followed by over a week of merrymaking through six events in Lahore and Islamabad.

The pair split up in 2023 with Junaid announcing the divorce on Instagram in October of that year.

The Florida-based company unveiled smart, colour-changing press-on nails at CES in Las Vegas that can flip between over 400 shades in as little as five seconds.

“When you wake up in the morning and you have a beige outfit for work, you change your colour of your nails to beige,” Lance Littell, iPolish’s Senior Vice President of Business Development, told Reuters on Thursday (January 8).  “At night, you go out on a date, you have a red dress on, you change the colour of your nails to red. You can do that thousands of times over and over on demand whenever you want.”

Powered by electrophoretic nanopolymers and controlled by an app on your phone, Littell says the iPolish smart nails are e-ink for your fingertips.

“It feels like it’s one of the first wearable tech pieces that I’ve seen have a real application,” said Trina Fine, a CES attendee from Chicago, Illinois.

“There’s so many different AI glasses, headsets, all these things that are amazing and cool, but it’s not something that solves an everyday problem people have. This is something people love to do, but can’t because it’s too expensive or they don’t do it often because it is hard to go to a salon. So, being able to have a wearable tech that’s got a unique application is something I think is really innovative.”

Other attendees mentioned being sceptical about how well iPolish smart nails will hold up during everyday use.

Preorders are open, with the $95 starter kit shipping in Summer 2026.

In a recent Instagram carousel, the RJ and host shared the intimate journey behind her reception outfit. A bridal outfit doesn’t need to cost a fortune to be meaningful or beautiful, she said.

“I found my reception outfit in the most unexpected way,” Ashraf wrote, recounting how the search began casually, almost accidentally, while browsing wedding wear in Istanbul. What she found was “a small gem of a designer,” someone working with “heart and quiet craftsmanship”, far removed from the noise and pressure that often surround wedding shopping, especially in South Asia.

The process, Ashraf revealed, was as personal as the outfit itself. From trying it on to tweaking the fit, every step unfolded alongside her sisters and niece — a support system she credits for turning decisions into memories filled with laughter and encouragement. The gown was stitched to her size, adjusted to her needs, and carefully personalised, transforming it from something beautiful into something unmistakably hers.

For her Persian reception, Ashraf chose white, a subtle yet deliberate nod to her family’s roots and heritage. “When someone takes the time to personalise, adjust, and truly care… it shows in every detail,” she wrote. “Every stitch, every tweak, made it uniquely mine.”

What resonated most with her, however, was what the gown came to represent beyond fabric and form. It held intention, meaning, and joy, values she believes are often overshadowed in the desi wedding industry’s fixation on price tags and prestige.

“Your wedding outfit doesn’t need to cost a fortune to be meaningful or beautiful,” she stressed, urging brides to trust small designers who show up with patience, personalisation, and immense hard work. Supporting them, she added, is a a statement about what real luxury looks like.

To Ashraf, luxury isn’t excess. It’s care, intention, family, and “a touch of serendipity.”

In her caption, she summed it up with warmth and humour, “My reception outfit found me before I even knew I was looking! One shop, a little Turkish magic, and a lot of laughs with my sisters and niece. Sometimes, that’s all the luxury you really need.”

Ashraf tied the knot in a dreamy wedding in Turkey last year.

Founder Zain Ahmed took the new year as an opportunity to talk about the brand‘s astronomical growth in 2025 and the many challenges that came along with it in a post shared to the label’s Instagram account.

He said 2025 had been “one of the hardest years of our lives”. Explaining that he almost lost the vision behind the brand in trying to scale it, Ahmed said, “There were moments it felt like we lost sight of why Rastah even exists”.

The label lead acknowledged the year had been great for business, with doubled growth and what he said were monthly sales nearing a million dollars in November and the June. They also launched their first showroom in Paris. Ahmed also said he got to see his work on a number of stars, collaborated with Wasim Akram, and made it into GQ’s print edition.

All of that came with extraordinary challenges, however, as the team bit off more than they could chew at times. Talking about the heavy volume of sales in November, he said cracks began to appear in the system when a lack of resources and manpower hit the brand and their logistics infrastructure collapsed.

“We didn’t deliver the experience our community deserved, and that hurt,” Ahmed admitted. “There’s no dressing that up. We fell short.”

The founder said this year reminded his team why Rastah exists in the first place — “It‘s not the glamour, the headlines or the celebrities. It’s honest work, real craft, storytelling and pieces that mean something.”

Their “real responsibility”, he said, was to “the community that chooses to believe in us, wear our work, and find joy in it, even when we make mistakes”.

“We lost our way at times, but we found it again.”

Ahmed vowed that 2026 was the year Rastah would do better by its supporters and put its “customers and community at the centre of everything“. He also promised there wouldn’t be a repeat of last year’s delivery problems with the brand’s upgraded warehousing and supply systems.

At 34, Mamdani’s rise has already been billed as disruptive, audacious, and slightly anxiety-inducing for America’s billionaires. But if his inauguration was anything to go by, it was also deeply online, unapologetically desi, and full of moments that felt tailor-made for group chats.

He took the oath on the steps of City Hall, vowing to govern as a democratic socialist and promising universal childcare, affordable rents and free bus service. “We will answer to all New Yorkers, not to any billionaire or oligarch who thinks they can buy our democracy,” he said.

Bernie Sanders shows up, meme mittens retired

If Mamdani was the main character, then Bernie Sanders was the beloved elder making a cameo — this time without the infamous mitten-and-mask combo that broke the internet during former US president Joe Biden’s inauguration.

Instead, Sanders opted for a green puffer coat and a familiar message: taxing the rich is not radical, it’s decent. The crowd agreed, erupting into chants of “tax the rich”, while Alexandria Ocasio-Cortez looked on, very much in her element among fellow democratic socialists.

Sanders, whom Mamdani has repeatedly cited as an inspiration, framed the new mayor’s agenda as common sense, which, in today’s America, is apparently the most radical stance of all.

The great $600 shoe discourse

No modern political event is complete without a bizarre culture war skirmish, and this one centred on footwear.

Social media briefly lost its mind after reports that Mamdani’s wife, Rama Duwaji, wore Miista ‘Shelley Boots’ worth over $600 to the inauguration. Conservative outlets clutched their pearls, declaring it hypocritical for the spouse of an affordability-first mayor to wear designer shoes.

The internet, however, was not having it.

From “socialism doesn’t mean you can’t have nice things” to the now-iconic explanation that “Syrian culture has a strong taboo against ugly shoes on the biggest day of your life,” the backlash to the-backlash was swift, sarcastic, and brutal.

Somewhere in the chaos, a useful reminder emerged: billionaires are looting cities daily, but sure, let’s argue about boots.

One journalist eventually found out that she had borrowed or rented most of her outfit. Sustainable queen!

Mira Nair, but make it Nehru (or Jinnah?)

Then came the fashion discourse no one asked for but everyone enjoyed. A photo of filmmaker Mira Nair sparked a mini debate online, with users arguing over whether she was channelling Jawaharlal Nehru or Muhammad Ali Jinnah.

“Why is Mira Nair trying to do the Nehru fit?” asked one user.

“That’s a Jinnah fit, sorry,” corrected another.

Somewhere in the replies, Mamdani’s parents were dubbed “auramaxxers,” because of course they were.

A public thank-you and a private internet meltdown

One of the most shared clips from the ceremony wasn’t political at all. It was Mamdani thanking his wife during his address, calling her his best friend and crediting her with helping him see beauty in everyday things, as Duwaji visibly fought back tears.

We‘re not crying, you’re crying.

Ending with Punjabi beats (and predictable outrage)

The ceremony wrapped up with what might be its most joyful flex: Punjabi music blasting through City Hall.

Toronto-based artist Babbulicious performed ‘Gaddi Red Challenger’, with Mamdani, Duwaji and hundreds of New Yorkers visibly vibing despite the cold.

For Mamdani, born to an Indian mother and a Ugandan father of Indian origin, it was another nod to the South Asian diaspora he openly courted during his campaign (yes, the one that included Hindi videos and ‘Dhoom Machale’).

Predictably, the far-right corners of the internet responded with hysteria. One viral post warned darkly of an “Islamic takeover of America” because the music wasn’t in English and there were Muslim men on stage. New York, it seems, has survived worse.

A quiet first before the loud celebration

Before the crowds, chants, and choreography, Mamdani had been sworn in privately just after midnight at the decommissioned City Hall subway station, a historic space that is opened only a few times a year. He took the oath on the Holy Quran, marking another first for the city.

By the time the public ceremony rolled around, it was clear, New York had entered its multicultural, meme-ready and unmistakably desi era, and there shouldn‘t be any reason to complain — unless you’re Trump.

Now, after more than five formidable years in fashion, during which he has given many a sleepless night to the competition, he has finally found his niche and true calling in life as someone who is known for fusing fashion with social causes and charity to help the underprivileged, overlooked and the marginalised.

How would you define your approach to fashion design?

ZS: It is rooted in the unexpected. I prefer to work with raw materials and concepts that challenge convention, such as acrylic sheets, multi-button detailing, transformation dresses and dramatic cocktail dresses. My collections feature a range of avant-garde designs such as men’s sherwanis embellished with fauna imagery, burnished golden bustiers, vests adorned with multiple layers of gold chains, candy-coloured power suits, a new take on the safari suit for Gen-Z, intricate crochet gowns, jackets, skirts and high-styled showstopper red carpet looks.

When I design with a focus on heritage and craftsmanship, I draw inspiration from Sabyasachi [India] and Hasan Shehryar Yasin [HSY], as they possess the uncanny ability to represent our culture and legacy, making one feel as if they were a witness to the bygone eras of royalty and exquisite luxury in the Subcontinent.

Every fashion designer has a muse. Do you?

ZS: Of course. Abeera Khan is my favourite print and ramp model and all-time muse, because of the way she pouts, walks on the catwalk like a panther on the prowl, and poses for a fashion photographer’s camera. She is full of energy and character and, even though she is still relatively young, she manages to bring the catwalk to life.

In fact, I am in the process of designing my new collection around her magnetic personality. The same can be said for Aasif Rehmaan. He is one of a kind among male models and shows great respect for the people around him. There’s really no one else like him.

Do you agree with the notion that fashion is dying a slow death in Pakistan?

ZS: Yes and no.

Yes, because things are most certainly not what they used to be before the pandemic. We used to have regular fashion weeks in Karachi and Lahore twice a year, which I would attend regularly: PFDC Fashion Week, Fashion Pakistan Week and HUM Showcase. They have all rolled up the red carpet now, post-Covid-19. What remains now is the Hum Bridal Couture Week, TDAP Fashion Week, and the newly curated Laam Fashion Week, with industry bigwigs at the helm, to look forward to in January 2026. So, fingers crossed.

No, because there are many individual platforms where fashion stalwarts, including designers and models, continue to put forth their best work without much support, recognition or acceptance from senior industry professionals. Personally, I support fashion for a cause and support charity organisations, such as Masarrat Misbah’s Depilex Smileagain Foundation, where I recently designed outfits for acid burn survivors and brought them on to the ramp to highlight the issue, earning accolades.

Earlier, I also supported Angeline Malik through my fashion platform during her cancer diagnosis, and she became Pakistan’s first bald model to walk the ramp, and also launched her line of designer jewellery with outfits by Parishae Adnan and styling by Saraphine Andrew of The Trio Salon. I have also introduced new talent on the ramp, who are fresh out of fashion schools such as Indus University and MITE [Millennium Institute of Technology and Entrepreneurship]. Now I’m in the process of setting up my own design studio on main Tariq Road as well. There’s still lots more to come in 2026, but I’m keeping my lips sealed for now.

What advice would you give young people who aspire to make a name in fashion as designers, models, or other roles?

ZS: Keep fighting for what you want. If you know you have it within you, you will certainly persevere. The fashion industry does not just harbour predators but also people who will help you on your way.

Who is your all-time favourite showbiz personality?

ZS: My greatest inspiration is Shah Rukh Khan. Beyond his impressive screen presence, I admire his gentlemanly persona, humour, aesthetic sense and philanthropy. His immense respect for women, fair play, wit when dealing with the paparazzi, and devotion to his family are qualities I deeply respect and strive to emulate.

Originally published in Dawn, ICON, December 21st, 2025