The Influence Of Old World Glamour On This Seasons Trends

Fashion in Pakistan has evolved throughout the ages with some help from the people that have come and gone. The Turks, Mongols, Greeks, Persians, Mughals, and British all left a little bit of their signature on our culture as it stands today. From the British helmed creation of Frere Hall in the Venetian-Gothic style to the Persian influenced Badshahi Mosque— a Mughal emperors love letter to the city of Lahore. We can find symbols of our culture all around us, and especially in the clothes, we wear. Fashion is easily dismissed sometimes, but it’s an amalgamation of our heritage and how it’s been adapted over the ages. The popular modern peshwas we see every wedding season was originally a garment worn by noblemen in the Mughal empire. The chikankari kaam on your every day kurtis? It was introduced by Empress Nur Jehan — or so the story goes. The traditional kundan and gota that decorates our wedding wear was birthed in the courts of Rajasthan and the shops of Lucknow, making us modern-day patrons of these ancient materials. Designers have been reinventing old styles in new ways forever. Winter 2018 trends are indicating just this, and a surge in inspiration from regional styles. These new designers are striking a nostalgic note with their simpler designs and ethnic inspirations. 

Zara Shahjahan

Her winter collections are based on three simple adjectives — in her own words, “beauty, intricacy, and simplicity.” In lieu of ornate and heavily embellished pieces which have reigned supreme over the last few years, Shahjahan’s newest designs are all about getting back to basics in the best way: cotton ghararas in floral prints, and plain shalwar kameez in bright colours like fuchsia, yellow, and sky blue. The nomadic, raw feel about their new clothes is credited to the influence of styles from Turkey, China, India, and Afghanistan. Moreover, the focus is on techniques and materials which are “indigenous to our homeland.” There’s plenty of thread work in bright colours, mirror work, and emphasis on local industry. For example, their ready to wear collection is all about hand-loomed textiles, a technique which can be traced back to the Indus Valley civilisation. 

Perfect for the festive season, there’s nothing over the top about these looks — the bold colour combinations speak for themselves, and so does the quality with which they were put together. The campaigns for these collections are extremely homely, harkening back to days most of us can only recall on grainy film. The mood board-esque fillers on their Instagram are of smoky bhutta stands, anaar, and morning nashta. The intimacy and familiarity within these shots are balanced and heartwarming. Zara Shahjahan’s ability to recreate experiences and childhood feelings of safety with motifs that represent the quintessential ‘Pakistani winter’ is an expert stroke, but also a courageous one. Luxury fashion houses like hers have historically veered towards aspirational campaigns with international location shoots and ornate creations. Instead, she chose to shoot in Pakistan’s northern areas which are familiar to most. These minimalistic designs are instant classics to add to your wardrobe.

Hussain Rehar

Hussain Rehar is the loud new name on the street, making big strides with innovative ideas. Their new collections are a mixture of dissimilar, contrasting styles, which work when put together. His new ready to wear collection Lara, is an ode to the bold colours and classic cuts of the 60s, 70s, and 80s. Lara is meant to embody the timeless glamour of these ages, aspiring to do the same thing Shahjahan’s Bano collection has, but in an entirely different aesthetic. While Shahjahan travelled back in time to the simplicity of the 80s, Rehar has tapped into the festivity of the retro era. His clean silhouettes allow free movement while still remaining elegant, and are paired with traditional ethnic hand work on western looking garments. You could imagine the wearer at a 70s ball in any of Karachi’s many metropolitan hotels of yesteryear, which is exactly the point. The bright floral motifs at a closer glance resemble patterns which are local to the KPK region, as do the tailored, colour blocked pants. The timeless cuts are also adorned with bright, fun appliqués in the shapes of animals. While remaining minimal, Rehar’s collection recalls a more carefree time, where fashion was about self-expression — all the while remaining true to local patterns and modes of work, with all the embroidery and work being hand done. The styling is complete with tribal jewellery, tying together a complete and cohesive ‘East Meets West’ vibe. His recent shoot in the northern areas of Pakistan for his bridal collection also highlights local regions as hubs for inspiration and culture for his designs. 

Jeem

This is another fashion house which highlights the influences of heritage on our clothes, without making any of their clothes appear dated. Their clothes are intricate and handcrafted, using vibrant colours in a kitschy but chic way. The obvious references to truck art are there, but they make viewers and customers question whether why the place for these beautiful symbols and designs are reserved for the exteriors of buses. Fashion should take cues from every aspect of our culture, which often finds itself to be big and loud and ostentatious. The floral designs are made using a mix of modern 3D technology, and old school embroidery. Appliquéd gulaabs on lehenga cholis, and combinations of block print with digital print on johras perfectly sums up the contemporary but traditional approach Jeem has towards their designs. The effect of history and modernity is refreshing, and they borrow ideas from every region in Pakistan to create looks which represent an entirely new type of bridal. It can’t be typecast as traditionally red, minimalist, or contemporary. It’s just a bit of each. 

Diva’ni

The creative director of Diva’ni sums up the ethos of their brand perfectly. “As a kid I was always fascinated by my nani’s “assi kali ka lehenga.” Her 80-panel wedding lehenga had multi-colour surfaced panels with tilla work and chatta-patti borders on exquisite silk tissue coupled with a gold zari booti kurta. Her ensemble still reminds me of her nostalgic stories of colourful Punjab. The “Boota-Booti” edit is our love and tribute to the bygone legacy of the “rangdaar karigari” of Hindostan.” Diva’ni strives to evoke the classic, deeply personal process that goes into the construction of a bridal. The clothing is shrouded in the old world romanticism of pre-partition India and values the traditional styles which have been altered since.