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Year in review: Fashion Talk

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Clockwise: Shamaeel Ansari; Zahir Rahimtoola; Ayesha Tammy Haq; Frieha Altaf; Umair Tabani; Feeha Jamshed

Clockwise: Shamaeel Ansari; Zahir Rahimtoola; Ayesha Tammy Haq; Feeha Jamshed; Umair Tabani; Frieha Altaf

Pakistan’s social landscape has recently become inundated with the advent of multiple fashion weeks, hosted by competing fashion councils and organisations. The Herald invited three panellists whose expertise in the field of fashion extends to organisation, design, retail and commerce, to discuss whether fashion weeks translate into sales.

Ayesha Tammy Haq, a lawyer and multimedia journalist was also the CEO of Fashion Pakistan, a council of Karachi-based designers; Shamaeel Ansari, the CEO of her design company with nearly 25 years of experience as a designer, is currently the chairperson of the Fashion Pakistan Council, and Zahir Rahimtoola, the founder and CEO of Labels, a store which popularised off-the-rack western casuals in Pakistan back in the nineties. They were also joined by industry stalwart and former model, Frieha Altaf, the head of Catwalk Productions; Umair Tabani, the CEO for the award-winning Sania Maskatiya label; and Feeha Noor Jamshed, a young designer who has transformed TeeJays. Collectively, they argue that due to the fashion industry being much too nascent, with a little more support, it can in time prosper for Pakistani and international markets alike.

Herald. How critical are fashion weeks for the industry to thrive in Pakistan?
Zahir Rahimtoola. Fashion weeks are an important platform showcasing designers. However fashion weeks need to be geared to the business of fashion as opposed to entertainment. They need to put the right kind of pressure on designers to produce at least two solid collections a year, which is the requirement of any fashion industry in the world. Also, they have helped consolidate the fashion industry and are perhaps the most economical way for new talent to showcase their brand on the ramp.
Ayesha Tammy Haq. The first fashion week in Pakistan, organised by Fashion Pakistan in November 2009 used the media to broadcast Pakistani fashion to the world.

Herald. Why don’t we see more buyers coming in?
Umair Tabani. This is a tricky question. Accessibility comes with designers having the infrastructure to produce. We need the council to facilitate strategic partnerships with designers who don’t have the infrastructure and companies looking for designers. Designers should show a mix of items that are sellable and ramp-worthy.
Rahimtoola. The term designer is very broadly used in Pakistan. There is a distinction between a true designer and a fashion entrepreneur and this is where the problem lies.
Shamaeel Ansari. I agree with Zahir. This is achievable with a synergy between the designer and the entrepreneur.
Tabani. At Sania Maskatiya, we’ve always strived to achieve a balance between creativity and mass demand. Let’s face it: we live in a Muslim country and 95 per cent of our women are conservative and not in good shape.
Feeha Noor Jamshed. The mass production level of catering is minimum. Fashion needs to be seen on the streets. Every international designer has lines for pret, couture and retail. Where my own label is concerned mass production price points start at 2,500 rupees up to 5,000 rupees; pret is from 10,000 rupees upwards; and couture is another ball game.

Herald. Do fashion weeks function simply to showcase designers and their talents, or do they actually translate into collections in stores?

Ansari. Before fashion weeks took place, there were only a few designers that found their way to mainstream consumers. Fashion weeks and the media machinery they involve bring the entire gamut of designers to the forefront. Today, after successive fashion weeks in Pakistan, one can truly boast of at least 50 credible names in the industry. Also it has been a tremendous opportunity for the media to join hands with the secondary industry associated with fashion such as choreographers, photographers and retailers to interact and work on one platform.
Tammy Haq. I think you need to step back for a moment. Fashion weeks are a platform. Designers need to have production facilities if they are looking for huge orders.
Ansari. I agree that fashion weeks can only provide a platform and a quality benchmark for selection. And yes, it does depend on the individual designer to take the collections forward to sales. This can only come about by establishing discipline, work ethic and production facilities.
Jamshed. It should transfer into sales and such platforms have increased sales for most designers making clothes that can be sold off the racks.
Herald. @Zahir, as a buyer, what do you look for when you attend fashion weeks in Pakistan?
Rahimtoola. Fashion weeks are more of a meet-and-greet exercise as we are connected with our designers on a daily basis. Moreover, since we don’t have comprehensive seasonal collections, for me fashion weeks at the moment are not a great buying source.
Frieha Altaf. Besides multi-brand stores, new designers now have the opportunity to show talent and recruit buyers even if it’s in the local market. I disagree with Zahir, I feel the platform brings a lot of talent – and hence sales – upfront.
Tammy Haq. Our designers aim to sell their collections making large capital investments in them which they need to recover. They need to evolve to seasonal collections that they can place in stores as well.
Altaf. I’ve noticed that established designers are not interested in fashion weeks. The new [designers] need the platform more.
Ansari. It is equally important for established designers to exhibit collections as well as the new as today fashion weeks are live streamed to the world and give seasoned designers a kind of exposure they’ve never had before. As such the industry still needs to cater to the upcoming vast demand in regional markets.

Are Pakistani fashion weeks translating
into sales?

Yes 19%
No 81%
*The above question was posed to online readers during the two-hour live discussion

Herald. What needs to change in terms of designer output and quality control?
Rahimtoola. There is a disconnect between the textile industry and fashion designers. Textile mills are used to producing large runs of fabric, but the kind of fabric produced in Pakistan really does not cut the ice for the designer. However, of late, we are seeing a bridge between the textile mills and fashion designers via lawn.
Ansari. A liaison between designers and the industry of finished garments is needed. If fashion has to go from Pakistan to the West, large-scale manufacturing and quality standards can be established as well as financing with ideal mergers between designers and the textile industry. Pakistan is known for its denim quality. The first collaboration between ready-to-wear garments and textile should be made with denim.
Tammy Haq. The truth is that Pakistan is producing quality garments for high-street stores all over the world. Unfortunately, we are not designing them.
Ansari. Time and again we say that the Trade Development Authority (TDA) has set up fashion cells to document the business of fashion. However, nothing has materialised to date. Support from the TDA would be of great use to document the total value of the industry. Pakistan has always lacked the right kind of support from government authorities for fashion. As such, it is not just fashion institutes that are required. Alongside this, venture capital needs to come in, in order to invest in the talent here. A consortium of textile industrialists investing in designers to do the job of value-added designing would certainly change the story.

Herald. Why has the fashion industry failed to make strides in the international market, whereas countries like Turkey and India tend to project their indigenous designers successfully?
Rahimtoola. India started the business of fashion weeks in the year 2000. Whilst it has held their domestic industry to date, they have yet to make a benchmark on the international scene. Designers such as Manish Malhotra have received critical acclaim but hardly any commercial success. However the same designers have tapped into the local market which has facilitated their growth largely due to Bollywood and fashion weeks.
Ansari. In terms of an indigenous designer label, India needs to find its space on the racks abroad. Coming back to Pakistan, the government here must take a hard look at fashion as an industry. In my opinion, I feel the government has not viewed fashion beyond entertainment for their buyers. It is all about acquiring knowledge in this industry — the economic aspect of the amount of labour it hires in its entirety. As far as the fact that it preserves the job or vocation of the artisan today, we have seen how many machines for digital printing are being imported into the country. There are so any aspects that the government can gain knowledge upon if they choose to.
Tammy Haq. Professionally run bodies will then be able to deal with all aspects of the business. I do not agree with the notion that the government should be involved or be dictating how councils are run. At best there could be some sort of funding which should be made to the council and not designers.
Altaf. That’s why Shamoon (of Khaadi) does so well, he’s got 10 people from overseas running his manufacturing, quality control etc. He’s got five stores in the UAE, and still expanding. His could be the business model to look at.
Ansari. Shamoon’s model is based primarily on the right partnerships, which has meant investment, capital and growth. I feel there is a lot of talent in Pakistan for financial people to run fashion houses. Fashion weeks are helping in bringing the business to the forefront. Slowly but surely we are seeing growth of good management, at least in a few fashion design enterprises. The TDA in my view needs to assist in developing trade. This means organising the financial liaisons. It is only when designers acquire a consistent professional scale of manufacturing that it can truly be called an industry.

Herald. Also, just concentrating on bridal couture and mass-market design creates a vacuum for mid-level consumers and isn’t that where prêt wear comes in?
Rahimtoola. Sania Maskatiya is a prime example of a successful prêt business. She has been able to create a huge prêt business, as have Sana Safinaz. Khaadi is another example of brilliant innovation, of creating a huge prêt market for themselves in an unfavourable retail environment. We have these examples which have been huge success stories. They have been focused in their objectives and have consistently delivered.
Ansari. Agreed. I think the availability of ready-to-wear is going to be important in Pakistan. Lifestyles are changing with little time on hand for everyone.
Tammy Haq. Drive through the Zamzama lanes and you’ll be amazed at how many shops there are and how much prêt they are selling.

Herald. What sorts of gaps do you see in the fashion market, in terms of quality, production, creativity and trained professionals?
Rahimtoola. Quality control is lacking as we do not have standardised quality control levels.
Altaf. The problem is that all the students want to become designers. No one wants to drape, stitch, make patterns, write or just sketch and merchandise.
Tammy Haq. Shortcut Nation, Frieha.
Rahimtoola. We have recently started the business of e-commerce for international markets. Unfortunately, as there is very limited standardisation we have had to create and sell to individually specified and detailed outfits.
Jamshed. [TeeJays] deals in mass production, supplying to all the major multi brand stores in Pakistan and also sells online. We are not taking any custom-made orders at the moment but concentrating on producing and supplying in bulk.

Herald. As a retailer, do you communicate this to designers, and if so, what’s the response?
Rahimtoola. I am of the opinion that fashion councils will need to create advisory bodies to assist designers.
Tammy Haq. Designers need to learn how to execute their craft. The fashion schools and The Indus Valley School of Art and Architecture have produced great talent such as Kamiar Rokni, Nomi Ansari, etc. There may be huge amounts of creativity and talent but lack of business acumen may result in inadequate capital to produce.

Saman. Have fashion weeks helped local Pakistani designers projecting their expertise in the global limelight?
Ansari. The international media always picks up our fashion weeks. Through this we have generated an interest in international fashion communities. FPC has signed many MOU’s this year with international fashion weeks, sending talent abroad. Look at the interest Pakistani fashion has created in India and once trade opens this will be a prolific market.
Tabani. I was in India last week and came back very inspired — they are leaps and bounds ahead of us. We need to structure our design houses like any other textile or garment company. In order to entertain foreign buyers one needs to have the infrastructure in place to bulk produce at competitive prices.
I feel fashion shows do relate in sales — even if not directly but definitely indirectly. It pushes the designer to innovate and create a totally different collection.
Rahimtoola. Indeed, there is a need to bring fashion out in the open. I am of the opinion that currently fashion weeks don’t translate into sales.
Tammy Haq. As our industry is in its early years it can experiment and make mistakes. Look at what the rest of the world is doing, how much of that applies here? It’s not difficult. We just need to focus.

  Herald’s Pakistan Fashion moments in 2012

Sania Maskatiya’s Matyala, Uraan, Lokum and Wagah collections were well received by customers and critics alike, along with their collection for the TV play Shehr-e-zaat.

Labels E-store launched as a platform for local designers to reach out to foreign customers.

Sana Safinaz’s summer lawn collection created much mayhem amongst women (yet again), selling out despite controversy surrounding their advertising campaign.

Khaadi launched their collection for children’s wear.

Misha Lakhani’s debut was much appreciated by critics and customers within the fashion community.

Designer Mahin Hussein launched her 14th August collection celebrating 65 years of Pakistan’s independence featuring her eponymous flag clutch.

Debenhams, Mango and Nine West come to Pakistan paving the way for other international retail brands.

Ensemble, a multi-brand store featuring designers such as Nida Azwer, Sania Maskatiya and The Designers opened in Dubai.

PFDC opened Bridal Boulevard in Delhi, displaying Pakistan’s fine couture across the border.

Bunto Kazmi dressed filmmaker, Sharmeen Obaid-Chinoy for the Oscars.

Elan’s Gold Dust collection was unanimously considered best collection at PFDC bridal couture week.

Sania Maskatiya

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Sania Maskatiya: an unusual name for a young designer just as unusually successful in a very short period of time. An Indus Valley School of Art and Architecture graduate with a major in textiles and a family background in manufacturing garments, Maskatiya may have had technical support that gave her wings to fly, but her success is attributed more to her business acumen. The last one year has seen the rise of the Sania Maskatiya label: from the inauguration of a flagship store in Karachi to widespread availability in mainstream fashion stores across Pakistan. Her popularity has stemmed from a strong design sense growing through fashion-week success and culminating in the appreciation she garnered by dressing Oscar-winner Sharmeen Obaid Chinoy for the awards luncheon in Los Angeles.

Another reason for Maskatiya’s popularity is her personal grace. She is appreciated for having an optimistic karma and a ‘can-do’ attitude that she shares with her brother Umair Tabani who is undoubtedly the backbone of the Sania Maskatiya enterprise. A qualified chartered accountant, he brings professionalism to an industry that has an unfortunate ‘get-by’, lackadaisical attitude towards everything. Together they operate the 150-member team that ensures seamless day-to-day running.

Here the Herald talks to the woman behind the brand and why her conservative clientele wear designs with animal and bird imagery.

Q. Do you have any regrets not going to Central Saint Martins?

A. When I got into Saint Martins my father wanted me to go but my mother is old school and she convinced me not to. But no, I have no regrets at all because I loved Indus Valley. If it weren’t for Shahnaz Ismail I would have quit in a day or two but she is amazing. She holds the place together. Art school is always intense and Indus was too. Then when I got married I realised that I was lucky to have gotten to spend four extra years with my parents.

Q. Does a professional degree in textiles and/or fashion help?

A. A lot of people are crazy successful even without a degree but I learnt so much at school: discipline, technique, colour proportion. We actually learnt how to dye and weave cloth. We used to sit at khaddis (handlooms) doing an insane amount of work. In retrospect I understand the business of fabric so much better. You learn the basics. There’s so much learning that gives you confidence and clarity to deal with issues.

My screen printer, for example, wanted to use iron clad frames and I told him it was such an extra expense because we could do the same work on wooden frames which were 4,000 rupees cheaper. We could save 80,000 rupees on the 20 frames that we needed. Had I not had that knowledge he would have persuaded me to go for the iron frames. We gave him a technical solution to printing on wooden frames. Another example is that dyers still stick to the myth that ferozi colour bleeds. We’re in the 21st century and it’s preposterous to say that any problem doesn’t have a solution. We have given them sealants and technical solutions.

Q. How much does it help to be part of a textile family?

A. I never wanted to join the family business per se because I was interested in design and they do everything in mass production. It never appealed to me then but now it does. My father was instrumental when it came to acquiring fabric, machinery as well as helped with merchandising, spinning and knitting. When we started, he took us to all the factories, silk printing mills and we got great exposure in terms of insight as well as practical help like lending us space to make screens.

Q. What advice would you give new designers trying to make a breakthrough?

A. It’s important to have a good business plan and to work on the ground plan. We had this place [flagship store] for six months before we actually opened it. Sampling is important; we procured the fabric and came up with samples for every line. Having full stock capacity was an issue for us. In Pakistan, you go to stores – even many famous stores – and you see five things hanging on the racks. We wanted to make sure that would never happen. Visibility and accessibility are most important for a successful brand these days.

Q. What about brand building, which you have been very effective in doing?

A. We needed brand building for which we hired Lotus and that was really important and helpful. It was expensive but instead of spending on billboards and TV we invested in a good publicist. We photograph our work and advertise it constantly because then even if someone is replicating your work, people have seen it as yours before.

Q. Do you have a specific vision for the Sania Maskatiya brand?

A. We may not want to do the kind of volumes produced in factories yet but we want to expand production eventually. We will want to produce massively and have vendors everywhere. We are already stocking in many places but I’m talking bigger. And we understand that the way we want to do prêt is by bringing the price under 5,000 rupees and giving our clients a value-added product.

Q. What in your terms is a value added product?

A. We make sure our fabric is pure. When doing cottons we use Al-Karam, Gul Ahmed or imported voiles. I think anyone can make clothes nicely and most Pakistani women have a great sense of style so we try to give them something that they can’t put together so easily themselves. We offer a bit of block print, a little bit of lace trimming in our casuals, pair it with detailing, our screens. Tailors would throw a fit if they had to do all that.

Q. As a textile student you do have a flair for prints.

A. I love prints and we do our own computerised prints, screens, blocks etc. I’d love to do lawn too but I just feel that we’re too young a brand to get into it as yet. But we’re working on computerised cotton prints this year.

Q. You started off as the label Chamak and it wasn’t very well received at Fashion Week. What mistakes did you make?

A. That was the first time I ever showed and the stuff was similar to what I am making now. But I was under the impression that we had to show something funky and different and not all wearable so I worked a lot harder because I wasn’t selling that stuff. I realised a little too late that I needed to show what we can wear, not fantasy. It should have been a concept that could translate to wearable clothing. That said, I learnt from my mistakes.

Q. You’ve come a long way since then, the flagship store being a benchmark of your success. You were initially designing for friends and family but what kind of clientele does the brand attract now?

A. Some of my clients just come to me for couture. But now that there is always something on the racks they end up browsing and picking up ready-to-wear too. We try to be as accessible and available as possible. There are barely any sleeveless clothes in the store. My clients don’t wear very slinky clothes. I’ll make dresses and tube tops and jumpsuits but that’s mostly order based. Off the rack is mostly conservative and draped, with colours and material being the focus.

I believe that the contemporary vision is whatever makes a woman feel good about herself. To change one’s look is always good. I do think every woman has an innate sense of style and they need to capitalise on that and find their own sense of style. That’s most important. Sales, on the other hand, depend on the season. For instance, these days most women are coming for cotton casuals. People visiting from abroad during the holiday season are generally good buyers.

Q. You say your clientele is conservative and yet there is so much animal and bird imagery in your designs. The perception is that conservative women don’t like wearing animal prints?

A. You know I used to think so too but it’s not necessarily true. The elephants are all sold out. We’ve had giraffes and camels and birds as well and they did very well. Some people will come and say make everything as is but don’t make the eyes. They feel they can’t pray with figures that have eyes. Sometimes women ask me to sketch birds with their heads turning into flowers. Initially I didn’t want to change designs but we do now. We change designs and always accommodate clients but we make everything look nice and arty.

As a designer our responsibility is not to change someone’s belief. That said, I love nature and especially birds. The collection we’re showing at PFDC Sunsilk Fashion Week 2012 is all about birds.

Q. Ethical and eco-friendly fashion is such a big issue these days. Do you feel you follow any outlines?

A. We’re big on ethics. We’re not very eco-friendly to be truthful but we are particular about ethics by giving workers good working conditions, free lunch, subsidised food and good weekly wages. We give them transportation on strikes and we pay them extra. We need to get the production out. We’re particular about paying them every Saturday, on time. When workers come to us and brag about having worked with ‘so and so’ we tell them to unlearn whatever they have learnt. Because of all this we’ve managed to retain most of our employees over long periods and those who leave really do us no damage.