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judy smith Apr 2015
The Pakistan Fashion Design Council in collaboration with Sunsilk presented the fourth and final day of the eighth PFDC Sunsilk Fashion Week. Indeed the 8th PFDC Sunsilk Fashion Week marked the twelfth fashion week platform initiated by the Pakistan Fashion Design Council [with eight weeks of prêt-à-porter and four of bridal fashion] and was a direct manifestation of the Council’s commitment to sustainability and discipline within the business of fashion and the facilitation of Pakistan’s retail industry. Indeed #PSFW15 endeavoured to define and present trends for 2015, focusing specifically on fashion for the regions’ long hot summer months. Day-4 featured High-Street Fashion shows by the House of Arsalan Iqbal, Erum Khan, Chinyere and Hassan Riaz and designer prêt-à-porter shows by Sana Safinaz, Republic by Omar Farooq, Syeda Amera, Huma & Amir Adnan, Sania Maskatiya and HSY.

Speaking about the PFDC Sunsilk Fashion Week platform, Chairperson of the PFDC, Sehyr Saigol said: “With the 12th iteration of our critically acclaimed fashion weeks, the PFDC is always working to streamline our prêt-à-porter platform to make the PSFW experience more beneficial for all stakeholders in terms of show experience, exposure and ultimately, retail value. To that end, each year we look inward to find the best possible formats and categories to benefit the very trade and business of fashion. In this vein, we introduced 3 separate categories for Luxury/Prêt, High Street and Textile at PFDC Sunsilk Fashion Week, giving each entirely separate show space, times, audience exposure and viewing power. Our High Street fashion brands had been given a standalone show time on two separate days as early evening shows and Textile brands a separate dedicated day for Voile shows on Day 3 of PSFW 2015, a measured step to further highlight Pakistan’s textile prowess and high street fashion strength which are of significant importance to national and international fashion markets. As per past tradition, we continue to work closely with all our emerging designers and mainstream brands to help hone their collections for the runway through mentorship by senior PFDC Council members and with retail support through the PFDC’s own stores and network. We are grateful for the committed support of our sponsors and partners which provides us the stimulus to further enhance our fashion week platforms and put forth the best face of Pakistani fashion on a consistent basis.”

“The Sunsilk girl is an achiever, with an air of enthusiasm and positivity. Great hair can give her the extra dose of confidence so with Sunsilk by her side, she is empowered to take on life. Fashion is very close to this aspirational Pakistani girl making the PFDC Sunsilk Fashion Week a highly valued platform for us. We recognize PFDC’s efforts to promote the fashion industry and experienced and upcoming talent alike. Sunsilk has been a part of this fantastic journey for 6 consecutive years and continues to shape aspirations, taking contemporary fashion directly to the homes of consumers and encouraging them to script their own stories of success” said Asanga Ranasinghe, VP Home and Personal Care for Unilever Pakistan.

On the concluding day of #PSFW15, the Chairperson of the PFDC Mrs. Sehyr Saigol also made a special announcement on behalf of the Council and its Board Members, where she shared the Council’s plans to establish Pakistan’s first ever craft based Design District, a multi-purpose specialized facility that would assist in developing and enhancing the arts and crafts industries, which are an integral part of Pakistan’s rich cultural legacy. In addition to being a centre for skill improvement and capacity building, the Design District would also house a first of its kind Textile Museum.

The official spokesperson of the PFDC, Sara Shahid of Sublime by Sara also announced the official dates for the Council’s next fashion week, PFDC L’Oréal Paris Bridal Week 2015 which is scheduled to be held from 15th September to 17th September 2015.

Indeed the success of PFDC Sunsilk Fashion Week continued to prompt private sector associates to grow in their engagement of the platform to launch new marketing campaigns and promotional activities. To this end, the PFDC’s evolving partnership with Sunsilk grew exponentially this year whereby in addition to their title patronage; Sunsilk also took over the coveted PFDC Sunsilk Fashion Week red carpet and the Green Room/Backstage, as sponsors. This extension of their support is indeed a manifestation of the brand’s belief in and commitment to the platform. Also in continuation of their support for the platform, Fed Ex – GSP Pakistan Gerry’s International returned to PSFW as the official logistics partner, offering the PFDC a special arrangement for international designer consignments.

PFDC Sunsilk Fashion Week 2015 was styled by the creative teams at Nabila’s and NGENTS. Light design, set design, sound engineering, video packaging, choreography and show production from concept to construction was by HSY Events, front stage management by Maheen Kardar Ali, backstage management by Product 021, Sara Shahid of Sublime by Sara as the official spokesperson for the PFDC, logistics and operations by Eleventh Experience and photography by Faisal Farooqui and the team at Dragonfly, Hum TV/Hum Sitaray as the Official Media Partners, CityFM89 as the Official Radio Partners with all media management by Lotus Client Management & Public Relations.

High-Street Fashion Shows

The House of Arsalan Iqbal

The afternoon High-Street Fashion Shows on the final day of PFDC Sunsilk Fashion Week 2015 were opened by leading fashion brand The House of Arsalan Iqbal, who showcased a collection titled ‘Devolution Chic’. Inspired by street art across the world by various artists, European high-street trends and technique of quilting, Arsalan Iqbal garnered personal portfolios of graffitists from myriad urban cityscapes such as London, New York, Tokyo, Barcelona and Cape Town, juxtaposed with some unique in-house created patterns including those of Pac-man, calligraphic flourishes and aqua and tangerine bands and circlets. Based in chiffon, the ensembles were molded into voluminous structured silhouettes including draped tunics, edgy jumpsuits and wide palazzos dovetailed with off-white and ecru charmeuse silk jackets created with a revolutionary quilting process. Along with menswear pieces, the collection also included in-house footwear and jewellery made in collaboration with pioneering Karachi-based street artist SANKI.

Erum Khan

Designer Erum Khan followed next and made her PFDC Sunsilk Fashion Week debut with ‘The Untainted Shine’. The collection took its inspiration from the sparkle of twinkling stars, a walk on pearl dew in the morning and the enchanted glow which is produced when “a magic wand” is waved around the body, making it glow in a pearlescent white and exhibiting a jewel themed lustre on the body. With neat and straight structured cuts, Erum had used fabrics such as organza combined with silk, 3D flowers, patch work and antique katdanna in a collection which was based in a white colour palette. Trends highlighted in the collection were high waist skirts to button up pants and sheer long dresses. Acclaimed Pakistani musician Goher Mumtaz and his wife Anam Ahmed walked the ramp as the designer’s celebrity showstoppers.

Chinyere

Following Erum Khan, fashion brand Chinyere showcased its Spring/Summer 2015 High-Street collection ‘Mizaj-e-Shahana’ at PFDC Sunsilk Fashion Week 2015. An ode to the era of the Mughal royalty and their imperial aesthetic, the collection comprised of modern silhouettes and traditional embellishments with organza skirts paired with cropped tops, angarkha-peplum tops with embellished cigarette pants, sheer knee-length jackets paired with structured digital printed bustier-jumpsuits, diaphanous wrap-around boot-cuts and embellished boxy sleeves with soft A-line silhouettes. Chinyere also showcased ten menswear pieces comprising of waistcoats, jodhpurs, knee-length sherwanis paired with gossamer sheer kurtas. The colours used had been divided into a collection of distinctive Mughalesque pastels and jewel tones. The pastels included the classic marble ivory-on-ivory, the bold black, saffron, gold and ivory. The colour segments also included metallic gold and grey sections, with accents of bronze and black. The jewel tones included jade, emerald, ruby and sapphire.

Hassan Riaz

The concluding High-Street fashion show of PFDC Sunsilk Fashion Week 2015 was presented by Hassan Riaz who showcased his ‘Contained Shadows’ collection. Inspired by the diverse facets of the human soul that explore both the dark and light sides of human nature, taking into account yearnings, desires, and anxieties that make us distinctly human, Hassan had based the collection in summer twill, organza and summer denim in shades of blue and white with a gold accent to reflect upon his inspirations. ‘Contained Shadows’ made use of structured and drifting silhouettes, cage crinolines with corsets and bustiers with distinct trends featuring cropped tops, nautical accents, experiments with transparency and patchworks of metal mixed & matched with flowers.

Designer Showcases

Sana Safinaz

PFDC Sunsilk Fashion Week 2015’s evening [rêt shows on the fourth and final day was opened by premier designer label Sana Safinaz. Sana Safinaz’s PFDC Sunsilk Fashion Week collection was inspired by monochromatic structured looks with pops of color. The collection was based in luxe fabrics such as kattan, silks, fine silk organza and dutches satin in a colour palette majorly based in black and white with strong vibrant pop infusions.
Key trends being highlighted were the oversized T, constructions-clean lines, simplicity of cuts and effective embellishments.

Republic by Omar Farooq

Following Sana Safinaz, acclaimed menswear brand Republic By Omar Farooqshowcased a collection titled ‘Que Sera, Sera!’ (whatever will be, will be!). Omar Farooq had used a variety of luxe fabrics such as suede, linen, chiffon, cotton, cotton silk and wool silk. A collection for all seasons, the ensembles built upon the label’s signature aesthetics while providing a new take on contemporary menswear. Acclaimed media personality Fawad Khan walked the ramp as the brand’s celebrity showstopper.

Syeda Amera

The third Prêt show of the final day of PFDC Sunsilk Fashion Week 2015 was presented by designer Syeda Amera who made her ramp debut with ‘The World of Sea’. Inspired by love for the enchanting underwater, the collection was based in premium quality organza, jersey, nets and silks with delicate cuts and embellishments consisting of beads, sequins and feathers to reflect the collection’s aquatic theme. ‘The World of Sea’ featured a palette of aqua marine, scupa blue, powder pink, grey blue, tequila sunrise yellow, orange and lagoon green with trends that employed skirt layering, frills and ruffles and flared pants.

Huma & Amir Adnan

Following Syeda Amera, Huma & Amir Adnan showcased a joint collection for the first time at a fashion exhibition. Both Huma and Amir feel that as a couple they share their lives and draw synergies and their collection ‘Symphony’ was an epitome of how two people can revolve around the same concept in harmony, while maintaining their individual distinction. Showcasing both menswear and women’s wear at PSFW 2015, Huma and Amir had used a mix of fabrics, textures and embellishments with a complex collection of weaves, prints and embroideries in silk, linen, cotton and microfiber. The color palette included midnight blue, emerald green, wet earth, aubergine, ivory, old paper, turmeric, leaf and magenta. Key trends highlighted in the collection were long shirts, double layered shirts, printed vests and jackets, textured pants, colored shoes for men and layers of multi-textured fabrics, tighter silhouette, vests and jackets for women.

Sania Maskatiya

Designer Sania Maskatiya showcased the penultimate Luxury/Prêt collection of the evening at PFDC Sunsilk Fashion Week 2015. This S/S ’15, Sania Maskatiya took audiences on a fashion journey to ‘Paristan’ – a place of fairytale whimsy at PFDC Sunsilk Fashion Week. With a colour palette ranging from the softest shades of daybreak to the deepest hues of nightfall, ‘Paristan’ was a collection of playful, dreamlike prêt ensembles. Featuring luxury fabrics like silk, organza, charmeuse and crepe, the pieces followed the brand’s signature silhouettes, both structured and fluid. Beads and sequins embellished varied hemlines and multiple layering, all set against captivating scenes of mirth and magic. Motifs ranged from the sublime to nonsensical; friendly mice and naughty elves, clocks and teapots, flowering fields and star-filled skies, princesses and ponies.

HSY

Day-4’s finale was presented by acclaimed couturier HSY who showcased a collection titled ‘INK’; a collection inspired by Asia and specifically HSY’s journeys to The Land of the Rising Sun. INK represented the essence of Langkawi, Indonesia, Nagasaki, and Yunnan with natural and indigenous yarns, hand-woven to perfection. The collection featured the traditional dyeing techniques of Shibori from Nagasaki, Batik from Indonesia, and Gara from Sierra Leone infused with mackintosh, saffron, aubergine, eggshell, rosette, indigo and ochre. Created with the scorching sub continental summer in mind, INK channelled versatile hemlines to suit a diversity of younger, older, working men, women and homemakers alike.Read more here:www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/formal-dresses-brisbane
judy smith Jul 2016
Veteran fashion designer Tarun Tahiliani believes that the Indian fashion industry has become more organised and a little more professional.

Best known for his ability to infuse Indian craftsmanship and textile heritage with European tailored silhouette, Tahiliani believes that the Indian fashion industry has become more strategised and cemented over the last 20 years.

"India's propensity to consume is gaining an international audience and this is changing the competitive landscape," Tahiliani told IANS in an email interview.

"It has certainly become more organised and a little more professional, and obviously the market has exploded, but I think that we still have a long way to go in terms of being more business oriented and there's still room to get more organised and professional," the designer added.

Eulogizing the new and younger crop of designers, Tahiliani, who has over two decades of experience in the industry, believes that they are doing well in terms of the handloom and textile industry.

"What's really heartening to see is that there are so many younger designers who are going places and are doing so well in terms of the handloom and textile industry... it has become more organised. I think handloom was very localised in terms of weavers with a certain look from a certain area sold through certain channels," said the Co-Founder of Ensemble -- a multi-designer boutique.

"There has been a lot more creative freedom and other regions are experimenting with textile alien to their region, especially if they are more lucrative. As long as people appreciate traditional craftsmanship and embroideries, machine work will never replace the richness of hand embroidery," he added.

Asked if the plus-size models are yet to move into the mainstream industry in India?

"Well, they should have moved into the mainstream long back. But are not normally associated with very expensive high fashion and couture," Tahiliani said.

Having draped most of the leading ladies of Bollywood like Priyanka Chopra, Aishwarya Rai Bachchan and Madhuri Dixit-Nene in his creations, Tahiliani says that fashion is his muse, not a Bollywood star.

"Art, architecture, interiors, history, travel and maharajas... My inspiration comes from many things. Sometimes it's from beautiful inlay work that I've seen in a fabulous monument; other times my inspiration can be something as simple as a beautiful kanjeevaram weave," he said.

"Ultimately, however, my inspiration comes from India's rich traditions of craftsmanship, particularly when it comes to things like embroideries that we have in India. Nothing is more amazing than beautifully executed, intricate and fine technique. I don't design clothes keeping a Bollywood star in mind, but rather for the new age contemporary woman," he added.

Tahiliani is all geared up to showcase his collection The Last Dance of the Courtesan at the FDCI India Couture Week 2016 on Thursday here. He has artistically blended fabrics like cotton jacquards, cotton silks, crepes and cutwork jamdanis with Swarovski crystals for the range.

That's not all. He will next participate in the Vogue Wedding Show and then the prestigious Lakme Fashion Week, to be held in Mumbai in August.

"I will present my Ready to Wear Autumn Winter 16-17 collection at Lakme Fashion Week. It has been inspired by the works of Mrinalini Mukherjee (late sculptor) and the journey only gets bigger and better from here," he said.Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/pink-formal-dresses
Nigel Morgan Oct 2012
There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours



He then realised what the date was . . . and slowly let his hands fall to his lap.
Ellen Joyce Jun 2013
Its my body, my money, its up to me what I do with it.
But everyone else is wearing it.
I cant help the way I feel.
Blonde
Red
Orange
Brown
Purple
DMs purple with pink laces
school skirt altered in the textile lab 3" shorter
hormones racing, zipping, vibrating, fizzing till the top pops
stairs made for stomping and storming
cackling laughter crackling down the telephone wire
clothes left on the bedroom floor abandoned for a girl crisis.

You cant read my mind
read my lips
read my body
read my journal sandwiched between the midriff covering cottons gran bought for Christmas and the skimpy lace thong I'd be grounded for buying

Mother's mattress sanitary towels tossed aside
for shamefully purchased tampons
instructions included

and time has passed
and masks have fallen
and I find you there in the muck and the mire
and dust you off
until

I see your face - all mothers lipstick and glittering pink eye shadow
and the smile that stores secrets in a treasure chest.
Your legs shake like Bambi's but you get to your feet
and nestle yourself into me warmly, strongly until you fall right into me
and you run and you run and you run and you run and you run
right through my veins
giggles throbbing through my pulse
pajama parties and homemade perfume radiating in my eyes
and there you are
and there I am.
This poem was inspired by and dedicated to Eve Ensler and her book 'I am an Emotional Creature' which expresses girlhood in relation to men and women as something which we are all encouraged to surpress.  This is a snippet of my girlishness - the girl I was, am and will always be.
Written 2011
She slides over
the hot upholstery
of her mother's car,
this schoolgirl of fifteen
who loves humming & swaying
with the radio.
Her entry into womanhood
will be like all the other girls'—
a cigarette and a joke,
as she strides up with the rest
to a brick factory
where she'll sew rag rugs
from textile strips of kelly green,
bright red, aqua.

When she enters,
and the millgate closes,
final as a slap,
there'll be silence.
She'll see fifteen high windows
cemented over to cut out light.
Inside, a constant, deafening noise
and warm air smelling of oil,
the shifts continuing on ...
All day she'll guide cloth along a line
of whirring needles, her arms & shoulders
rocking back & forth
with the machines—
200 porch size rugs behind her
before she can stop
to reach up, like her mother,
and pick the lint
out of her hair.
RAJ NANDY Oct 2015
(Sorry Friends, for posting educational type of poems, I know Haiku are easier to read & comment! But if you happen to like this true story, kindly recommend it to your other friends! Thanks, -Raj)

STORY OF EUROPEAN RENAISSANCE: PART TWO

THE CITY-STATE OF FLORENCE :
The city of Florence lies in the historic valley of Tuscany ,
Along the banks of the Arno river, surrounded by hills
of scenic beauty !
Here during the first century BC , the conquering Romans
established their ‘Colonia Florentina’,
To settle the war veterans of Caesar’s army in Northern
Italia !
But later after the fall of Rome , it became a battleground
for the Holy Roman Empire and the Pope ;
But the independent nature of its people refused foreign
yolk !
They preferred commune rule led by a powerful leader –
called the Signore ,
Just like the city-states of ancient Greece, in those days of
yore !
But unlike Greece , Florence saw no Democracy ,
Since the Medici family finally usurped power in this
city of Northern Italy !
Unlike Venice , Florence is landlocked and not a port
city ;
Relying on banking and trade to prosper economically .
Their gold coin florin became the standard coinage
throughout Europe ;
While through the export of its quality textile and woolen
goods, great wealth got secured !
But to become patrons of art and letters mere wealth is
not enough ,
One must have a refined taste to become a true lover of
letters and art !
And here the Medici carved out a niche for themselves
under the Florentine sun !
Writers like Francesco Petrarca , Dante, and Boccaccio ;
And artists such as Giotto , Lippi, Dontello, Leonardo ,
and Michelangelo , were all born Florentines !
Even classical Athens couldn’t boast of such a vast
galaxy ,
Of artistic talents within such a limited time frame of
History !
These artists embellished their city with their literary
works, sculptures, architectures and paintings ;
Made Florence to reawaken, dazzle, and shine ;
Carving out a proud moment in history for the
Florentines !

CONTRIBUTION OF MEDICI FAMILY OF
FLORENCE :
Giovanni de Medici (1360-1429) :
This Medici family became the Godfather for the Italian
Renaissance ,
And I feel obliged to narrate their story tracing their
historical source !
In those early days Art was considered a lowly craft ,
There were no art galleries, and one couldn’t make a
living out of Art !
Without patronage the artist and his art couldn’t survive ,
So I speak of the Medics, who had originated from the
Tuscan countryside !
Gaining power through wealth and political astuteness,
And not through military force for dominance !
The founder of family’s fortunes was Giovanni de
Medici ,
An educated man with a simple life style , who
traveled on a donkey !
A humble man who had never aroused any enmity .
He established the Medici Bank with innovations
in ledger accounting system ;
And became a pioneers in tracking credits and debits
through a double entry system !
He opened branches of the Bank in Rome and Northern
Italy ,
Facilitated bills of exchange and credit bills, to multiply
his money !
After the return of the Papacy from Avignon to Rome ,
The Medici Bank was made the official bankers of the
Pope ;
And Giovanni became the wealthiest man in Italy , if
not in entire Europe !
In 1421 Giovanni was made the Chief Executive of his
city ,
And he commissioned its leading architect Brunelleschi , -
to glorify Florence city .
The challenging task for Brunelleschi was to build the dome
of the Cathedral of his city .
This was the first octagonal dome in history , a breakaway
from the earlier Gothic structures ,
And even surpassing the Roman Pantheon as a marvel of
Florentine architecture !
It took sixteen long years to complete this huge dome ,
And stands today as an icon of Renaissance Europe !
Giovanni had taught his son Cosimo to follow a simple
life style ,
To patronize art and letters, and to his people be kind !

COSIMO De MEDICI (1389-1464) :
After Giovanni’s death , Cosimo the Elder built upon
his father’s inherited wealth ;
Absorbed most of the 39 Florentine Banks, operating its
branches in London and Bruges as well !
The greatest rival of the Medici fortunes were the Albizzi ,
They plotted against Cosimo and the Medics ;
And in 1433, exiled Cosimo and his family out of jealousy !
But after a year the Medics were recalled back as heroes ,
Since the Florentine coffers without the Medici Bank , -
had become almost zero !
But both peace and prosperity are needed for flourishing
of art and culture ,
So Cosimo engineered the Peace of Lodi (1454) with Milan
and Venice , -
To prevent future wars and misadventure !
Scholars were made to collect precious manuscripts from
the East, and the churches and vaults of Europe ;
And an ensured period of stability , contributed to Early
Renaissance’s growth !
Sculptor Donatello’s bronze **** David stood up as an
unique art form ,
And with paintings of Fra Angelico, and Filippo Lippi , -
the style of art itself began to reform !
Architect Michalozzo built the famous Medici Palace ,
And Cosimo opened the Medici Library for the spread of
classical knowledge !
After the fall of Constantinople in 1453 , the Greek scholars
with their classical manuscripts fled to Italy .
They flocked to Florence where Cosimo established a
Platonic Academy !
Renowned Humanist Marsilio Ficino became its President ,
And complete works of Plato got translated from Greek
to Latin !
Thus the growth of Early Renaissance owed much to
Cosimo’s patronage ,
And the Florentines inscribed “Pater Patriae” on his tomb , –
(‘Father of His Country’) after his death !

LORENZO THE MAGNIFICENT (1449-1492) :
Cosimo’s son Piero the Gouty died within five years ,
Never achieved anything spectacular worthy of tears !
The Medici Bank had loaned large sums of money to
King Edward IV of England and Charles the Bold of
Burgandy,
Failed to recover getting into bad debts and insolvency !
So when Cosimo’s grandson Lorenzo succeeded at
the age of twenty one ,
He focused on other areas of creativity, and the period
of High Renaissance begun !
Lorenzo , a genuine lover of arts, also wrote poetry in the
dialect of his native Tuscany ;
Following the footsteps of Tuscan born poets Donzella ,
Davanzati , and Dante the author of ‘Divine Comedy’ !
On 26th April 1478 , the Pazzi family in connivance with
the Archbishop of Pisa and backing of Pope Sixtus IV ,
Tried to assassinate the Medics during the High Mass, -
in the Cathedral of Santa Maria del Fiore !
Younger brother Giuliano was fatally stabbed , but they
failed to **** Lorenzo .
All the conspirators were hanged including Pisa’s
Archbishop !
Ecclesiastic censure was issued against Florence ,
And Lorenzo was excommunicated by the Pope !
But Lorenzo worked out a treaty of peace with the King
of Naples ,
And became the undisputed ruler of the Republic of
Florence !
Unfortunately , Lorenzo died young at the age of forty-
three ,
At the dawn of the great Age of Exploration and
adventures by sea !
During his rule Renaissance reached its Golden Age ,
And literature, art, and architecture blossomed with
Lorenzo’s patronage !
It earned him the title of ‘Magnifico’, now know to
us as Lorenzo the Magnificent !
Leonardo da Vinci , Michelangelo , Raphel , Giovanni
Bellini ,Titan, Veronese, Correggio , Tintoretto ;
All became superstars of the Renaissance era ;
Their works are cherished, valued and treasured to
this day of our Modern era !
In the year 1492 with Lorenzo’s death , Italy entered
a period of turmoil and instability,
And the Renaissance saw a period of decline in Italy !
But the flames of the Renaissance spread to other
parts of Northern Europe ,
And in the 16th century reached England’s shores !
The Medici Family had also provided three Popes to
Italy, and three Queens to France ;
Besides patronizing the growth of the famous Italian
Renaissance !
Now dear readers, to do justice to Renaissance art ,
architecture, and literature briefly ,
I propose to narrate its story in Part Three !
-- By Raj Nandy of New Delhi .
*ALL COPY RIGHTS ARE WITH THE AUTHOR
For those who have missed out on my Part One, would surely benefit by going through the same! This is a part of my researched work,put across in simple verse. Thanks & best wishes, -Raj
Jack Kerouac  Oct 2010
Nebraska
April doesnt hurt here
Like it does in New England
The ground
Vast and brown
Surrounds dry towns
Located in the dust
Of the coming locust
Live for survival, not for 'kicks'
Be a bangtail describer,
like of shrouded traveler
in Textile tenement & the birds fighting in yr ears-like Burroughs exact to describe & gettin $
The Angry Hunger
(hunger is anger)
who fears the
hungry feareth
the angry)
And so I came home
To Golden far away
Twas on the horizon
Every blessed day
As we rolled And we rolled
From Donner tragic Pass
Thru April in Nevada And out Salt City Way Into the dry Nebraskas And sad Wyomings Where young girls And pretty lover boys
With Mickey Mantle eyes
Wander under moons
Sawing in lost cradle
And Judge O Fasterc
Passes whiggling by To ask of young love: ,,Was it the same wind Of April Plains eve that ruffled the dress
Of my lost love
Louanna
In the Western
Far off night
Lost as the whistle
Of the passing Train
Everywhere West
Roams moaning
The deep basso
- Vom! Vom!
- Was it the same love
Notified my bones As mortify yrs now
Children of the soft
Wyoming April night?
Couldna been!
But was! But was!'
And on the prairie
The wildflower blows
In the night For bees & birds And sleeping hidden Animals of life.
The Chicago
Spitters in the spotty street
Cheap beans, loop, Girls made eyes at me And I had 35 Cents in my jeans -
Then Toledo
Springtime starry
Lover night Of hot rod boys And cool girls A wandering
A wandering
In search of April pain A plash of rain
Will not dispel This fumigatin hell Of lover lane This park of roses Blue as bees
In former airy poses
In aerial O Way hoses
No tamarand And figancine Can the musterand Be less kind
Sol -
Sol -
Bring forth yr Ah Sunflower - Ah me Montana
Phosphorescent Rose
And bridge in
fairly land
I'd understand it all -
judy smith Aug 2016
It’s New York Fashion Week, and there is a frenzy backstage as models are worked into their dresses and mob the assembled engineers for instructions of how to operate the technology that magically transforms a subtle gesture into a glowing garment suggestive of the bioluminescence of jellyfish. I know there’s not enough time for them to do their work. Almost instinctively, I find the designer and bargain for 20 more minutes.

While I wonder to myself how I got here, backstage at a runway show, I also know I am witnessing what may be the harbinger of how a fourth industrial revolution is set to change fashion, resulting in a new materiality of computation that will transform a certain slice of fashion designers into the “developers” of a whole new category of clothing. By driving new partnerships in tools, materials and technologies, this revolution has the potential to dramatically reshape how we produce fashion at a scale not seen since the invention of the jacquard loom.

The jacquard loom, as it happens, inspired the earliest computers. Ever since, textile development and technology have been on an interwoven path — sometimes more loosely knit, but becoming increasingly tighter in the last five years. Around that time, my colleagues and I embarked on a project in our labs to look at “fashion tech,” which at the time was a fringe term. These were pioneers daring to — sometimes literally — weave together technology and clothing to drive new ways of thinking about the “shape” of computation. But as we looked around the fashion industry, it became clear that designers lacked the tools to harness the potential of new technologies.

For a start, all facets of technology needed to be more malleable. Batteries, processors and sensors, in particular, had to evolve from being bulky and rigid to being softer, flexible and stretchable. Thus, I began to champion “Puck [rigid], Patch [flexible], Apparel [integrated],” an internal mantra to describe what I felt would be the material transformations of sensing and computation.

As our technologies have steadily become smaller, faster and more energy efficient — a progression known in the tech industry as Moore’s Law — we’ve gone on to launch a computer the size of a postage stamp and worked with a fashion tech designer to demonstrate its capabilities. In this case we were able to show dresses that were generated not just from sketches and traditional materials, but forward-looking tools (body scans and Computer Assisted Design renderings) and materials (in this case, 3-D printed nylon). At the same time, we integrated a variety of sensors (proximity, brain-wave activity, heart-rate, etc.) that allowed the garments themselves to sense and communicate in ways that showed how fashion — inspired in part by biology — might become the interface between people and the world around them.

Eventually, a meeting between Intel and the CFDA lent support to the idea that if technology could fit more seamlessly into designs, then it would be more valuable to fashion designers. The realisation helped birth the Intel Curie module, which has since made its way down the catwalk, embedded into a slew of designs that could help wearers adapt, interpret and respond to the world around them, for example, by “sensing” adrenaline or allowing subtle gestures to illuminate a garment.

As the relationship between fashion and technology continues to evolve, we will need to reimagine research and development, supply chains, business models and more. But perhaps more than anything, as fashion and technology merge, we must embrace a new strand of collaborative transdisciplinary design expertise and integrate software, sensors, processors and synthetic and biological materials into a designer’s tool kit.

Technology will inform the warp and weft of the fabric of fashion’s future. This will trigger discussions not just about fashion as an increasingly literal interface between people, our biology and the world around us, but also about the implications that data will generate for access, health, privacy and self-expression as we look ahead. We are indeed on the precipice of a fourth industrial revolution.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | www.marieaustralia.com/black-formal-dresses
Dorothy A Jul 2010
It was the summer of 1954. David Ito was from the only Japanese family we had in our town. I was glad he was my best friend. Actually, he was my only friend. His father moved his family to our small town of Prichard, Illinois when David was only eight years old. That was three years ago.

Only two and a half months apart, I was the older one of our daring duo. I even was a couple inches taller than David was, so that settled it. In spite of being an awkward girl, our differences in age and height made me quite superior at times, although David always snickered at that notion. To me, theses differences were huge and monumental, like the distance of the sun from the moon. To David, that was typical girlish nonsense. He thought it was so like a girl, to try to outdo a boy.  And he should have known. He was the only son of five children, and he was the oldest.

At first, David was not interested in being friends with a girl. But I was Josephine Dunn, Josie they called me, and I was not just any girl. Yet, like David, I did not know if I really liked him enough to be his friend. We started off with this one thing in common.

I knew he was smarter than anybody I ever knew, that is except for my father, a self-taught man. The tomboy that I was, I was not so interested in books and maps, and David was almost obsessed with them. Yet, there was a kindred spirit that ignited us to become close, something coming in between two misfits to make a good match. David was obviously so different from the rest. He came from an entirely different culture, looking so out-of-the-ordinary than the typical face of our Anglo-Saxon, Protestant community, and me, never really fitting in with any group of peers in school, I liked him.

David knew he did not fully fit in. I surely did not fit, either. My brother, Carl, made sure very early on in my life that I was to be aware of one thing. And that one thing was that I did not belong in my family, or really anywhere in life. Mostly, this was because I was not of my father’s first family, but I came after my father’s other children and was the baby, the apple of my father’s eye. But that wasn’t the real reason why Carl hated me.

During World War Two, my father enlisted in the army. He already had two small sons and a daughter to look after, and they already had suffered one major blow in their young lives. They had lost their mother to cancer. Louise Dunn was an important figure in their lives. She was well liked in town and very much missed by her family and friends.
  
Why their father wanted to leave his children behind, possibly fatherless, made no sense to other people. But Jim Dunn came from a proud military family and would not listen to anyone telling him not to fight but rather to stay home with his children. His father fought in the First World War, and three of his great grandfathers fought for the Union Army in the Civil War. It was not like my father to back out of a fight, not one with great principles.  My father was no coward.

Not only did my father leave three small children back home, but a new, young wife. Two years before World War Two ended, he made it back home to his lovely, young wife and family. Back in France, my father was wounded in his right leg. The result of the wound caused my father to forever walk with a limp and the assistance of a cane. It was actually a blessing in disguise what would transpire. He could have easily came home in a pine box. He was thankful, though, that he came away with his life. After recovering for a few months in a French hospital, my father was eager to go home to his family. At least he was able to walk, and to walk away alive.

This lovely, young woman who was waiting for him at home was twenty-year-old Flora Laurent, now Flora Dunn, my mother, and she was eleven years younger than my father. All soldiers were certainly eager to get home to their loved ones. My father was one of thousands who was thrilled to be back on American soil, but his thrill was about to dampen. Once my father laid eyes on his wife again, there was no hiding her highly expanding belly and the overall weight gain showed in her lovely, plump face. She had no excuses for her husband, or any made-up stories to tell him, and there really nothing for her to say to explain why she was in this condition. Simply put, she was lonely.

Most men would have left such a situation, would have gone as far away from it as they possibly could have. Being too ashamed and resentful to stay, they would have washed their hands of her in a heartbeat. Having a cheating wife and an unwanted child on their hands to raise would be too much to bear. Any man, in his right mind, would say that was asking for way too much trouble.  Most men would have divorced someone like my mother, kicked her out, and especially they would hate the child she would be soon be giving birth to, but not my father. He always stood against the grain.

Not only did Jim Dunn forgive his young wife, he took me under his wing like I was his very own. Once I knew he was not my true father, I could never fully fathom why he was not ready to pack me off to an orphanage or dump me off somewhere far away. Why he was so forgiving and accepting made him more than a war hero. It made him my hero. That was why I loved him so much, especially because, soon after I was born, my mother was out of our lives. Perhaps, such a young woman should not be raising three step children and a newborn baby.

My father never mentioned any of the details of my conception, but he simply did his best to love me. He was a tall, very slim and a quiet man by nature. With light brown hair, grey eyes, and a kind face, he looked every bit of the hero I saw him as. He was willing to help anyone in a pinch, and most people who knew him respected him. Nobody in town ever talked about this situation to my father. To begin with, my father was not a talker, and he probably thought if he did talk about it, the pain and shame of it would not go away.

One of my brothers, Nathan, and my sister, Ann, seemed to treat me like a regular sister. Yet, Carl, the oldest child, hated me from the start. As a girl who was six years younger, I never understood why. He was the golden boy, with keen blue eyes and golden, wavy hair, as were Nathan and Ann.  I had long, dark brown hair, which I kept in two braids, with plenty of unsightly brown freckles, and very dark, brown eyes.  Compared to my sister, who was five years older, I never felt like I was a great beauty.

I was pretty young when Carl blurted out to me in anger, “Your mother is a *****!”  I cried a bit, wiped away the tears with my small hands and yelled back, “No, she isn’t!” Of course, I was too young to know what that word meant. When my brother followed that statement up with, “and you are a *******”, I ran straight to my father. I was almost seven years old.

My father scolded Carl pretty badly that day. Carl would not speak to me for months, and that was fine with me. That evening my father sat me upon my knee. “Daddy, what is a *****?” I asked him.

My father gently put his fingers up to my lips to shush me up. He then went into his wallet and showed me a weathered black-and-white photo he had of himself with his arms around my mother. It was in that wallet for some time, and he pulled out the wrinkled thing and placed it in front of me.

My father must have handled that picture a thousand times. Even with all the bad quality, with the wrinkles, I could see a lovely, young lady, with light eyes and dark hair, smiling as she was in the arms of her protector. My father looked proud in the photograph.

He said to me, his expression serious, “whatever Carl or anybody says about your mother, she will always be your mother and I love her for that”. I looked earnestly in his somber, grey eyes. “Why did she go away?” I asked him.

My father thought long and hard about how to answer me. He replied, “I don’t know. She was young and had more dreams in her than this town could hold for her”. He smiled awkwardly and added, “But at least she left me the best gift I could have—you.”  

I would never forget the warmth I felt with my father during that conversation. Certainly, I would never forget Carl’s cruel words, or sometimes the odd glances on the faces of townswomen, like they were studying me, comparing me to how I looked next to my father, or their whispers as the whole family would be out in town for an occasion. It did not happen every day, but this would happen whenever and wherever, when a couple of busybodies would pass me and my father walking down Main Street, or when we went into the ice cream parlor, or when I went with my father to the dime store, and it always made me feel very strange and vaguely sad, like I had no real reason to be sad but was anyway.


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -


That summer of 1954, I was a bit older, maybe a bit wiser than when Carl first insulted my estranged mother. I was eleven years old, and David was my equal, my sidekick. Feeling less like a kid, I tried not to boss him too much, and he tried not to be too smart in front of me. I held my own, though, had my own intelligence, but my smarts were more like street smarts. After all, I had Carl to deal with.

David seemed destined for something better in life. My life seemed like it would always be the same, like my feet were planted in heavy mud. David and I would talk about the places we would loved go to, but David would mark them on a map and track them out like his plans would really come to fruition. I never liked to dream that big. Sure, I would love to go somewhere exciting, somewhere where I’d never have to see Carl again, or some of the kids at school, but I knew why I had a reason to stay. I respected my father. That is why I did not wish to leave. And David respected his father. That is why he knew he had to leave.

David Ito’s father was a tailor. David’s parents came from Japan, and they hoped for a good life in their new country. Little did they know what would be in store for them. After the Japanese bombed Pearl Harbor, their lives, with many other Japanese Americans, were soon turned upside down. David was born in an internment camp designed to isolate Japanese people from the nation once Americans declared war on Germany and their allies. David and I were both born in 1943, and since the war ended two years later, David had no memories of the internment camp experience. Even so, David was impacted by it, because the memories haunted his parents.

There was no getting around it. David and I, as different as we were, liked each other. Still, neither he nor I felt any silly kind of puppy love attraction. David had still thought of girls as mushy and silly, and that is why he liked me. I was not mushy or silly, and I could shoot a sling shot better than he did. David loved the sling shot his parents bought him for his last birthday. They allowed him to have it just as long as he never shot it at anyone.

David Ito, being the oldest child in his family, and the only son, allowed him to feel quite special, a very prized boy for just that reason. Mr. Ito worked two jobs to support his family, and Mrs. Ito took in laundry and cooked for the locals who could not cook their own meals. Mrs. Ito was an excellent cook. Whatever they had to give their children, David was first in line to receive it.

The majority of those in my town of Prichard respected Mr. Ito, at least those who did business with him. He was not only able to get good tailoring business in town, but some of the neighboring towns gave him a bit of work, too. When he was not working in the textile factory, Mr. Ito was busy with his measuring tape and sewing machine.  

Even though Mr. Ito gained the respect of the townspeople, he still was not one of us. I am sure he knew it, too. Yet Mr. Ito lived in America most of his life. He was only nine-years-old when his parents came here with their children. Like David, Mr. Ito certainly knew he was Japanese. The mirror told him that every day. But he also knew felt an internal tug-of war that America was his country more than Japan was, even when he was proud of his roots, even though he was once locked up in that camp, and even when some people felt that he did not belong here.

If David was called an unkind name, I felt it insulted, too, for our friendship meant that much to me. How many times I got in trouble for fighting at school! My father would be called into the principal’s office, and I was asked by Mr. Murray to explain why I would act in such an undignified way. “They called David a ***** ***”, I exclaimed. “David is my friend!”

Because David and I were best buddies, we heard lots of jeering remarks. “Josie loves a ***! Josie loves a ***!” some of the children taunted. And Carl, with his meanness, loved to be head of the line to pick on us. He once said to me, “It figures that the only friend you can get is a scrawny ***!”

In spite of my troubles at school, Father greatly admired David and his father, and he thought that David and I were good for each other’s company. Mr. Ito greatly respected my father, in return, not only for his business but because my dad could fix any car with just about any problem. Jim Dunn was not only a brilliant man, in my eyes, but the best mechanic in town. When Mr. Ito needed work done on his car, my father was right there for him. It was an even exchange of paid work and admiration.

Both my father and David’s father felt our relationship was harmless. After all, everyone in David’s family knew and expected that he would marry a nice Japanese girl. There was no question about it. Where he would find one was not too important for a boy of his age. Neither of us experienced puberty yet and, under the watchful eye of my father, we would just be the best of buddies.

David pretended like the remarks said about him never bothered him, but I knew differently. I knew he hated Carl, and we avoided him as much as possible. David was nothing like me in this respect—he was not a fighter. Truly, he did not have a fighting bone in his body, not one that picked up a sword to stab it in the heart of someone else. It was not that David was not brave, for he was, but he knew the ugliness of war without ever even having to go to battle. Nevertheless, he used his intellect to fight off any of the racist remarks made about him or his family. He had to face it—the war had only ended nine years prior and a few of the war veterans in town fought in the Pacific.      

Because of the taunts David had experienced in school, I was not surprised what David’s father had in store for his beloved son.  Mr. Ito could barely afford to send one child to private school, but he was about to send one. David was about to be that child. When David told me that when school resumed he would be going to a boy’s school in Chicago, my heart sank. Why? Why did he have to go? I would never see him again!

“You will see me in the summer”, he reassured me. He looked at me as I tried to appear brave. I sat cross-legged on the grass and stared straight ahead like I never even heard him. I had a lump in my throat the size of a grapefruit, and my lips felt like they were quivering.

We were both using old pop bottles for target practice. They sat in a row on an old tree stump shining in the evening sun. David was shooting at them with his prized slingshot. I had a makeshift one that I created out of a tree branch and a rubber band.

“You won’t even remember me”, I complained.

“I will to”, he insisted. “I remember everything.”

“Oh, sure you will”, I said sarcastically. “You’ll be super duper smart and I will just be a dummy”. In anger, I rose up my slingshot, and I hit all three bottles, one by one, then I threw the slingshot to the ground. David missed all the shots he took earlier.

David threw his slingshot down, too. “For being a girl, you are pretty smart!” he shouted. “You are too smart for your own good! The reason I like you is because you are better than anyone I ever met in my entire life. Well…not better than my parents, but you are the neatest girl I ever knew in my life!”

For a while, we didn’t talk. We just sat there and let the warm, summer breeze do our talking for us. I pulle
copywrited 2010
judy smith Apr 2015
With designers like Iman Ahmed, HSY and Sania Maskatiya all showing, it was standing-room only at the venue. Many of the crowd of fashion insiders and socialites ended up sharing seats, with the chivalrous Zaheer Abbas giving his seat to Iman Ahmed after her show and sitting on the floor himself. So much for designer egos!

It was an evening that lived up to its billing.

Iman Ahmed may not be a designer who makes her clothing easily available, but in fashion terms she reaches heights that few other designers can reach. Her “Sartorial Philology and the New Nomad collection” was breathtaking.

The best fashion shows have a narrative — the clothes, styling, music and progression of the outfits blend seamlessly into a whole that portrays the designer’s artistic vision.

It’s hard not to gush about Iman Ahmed’s show last night because it was exactly what a fashion show should be.

Starting with a series of outfits in white and gradually adding tribal colours, Iman used fringing, embroidery and a range of fabrics to great effect. From the inspired detailing to the juxtaposition of texture and silhouette, this was a class act. The tribal white-dotted makeup and beaten silver accessories added further depth to Iman’s stunning layered ensembles.

Levi’s uninspired showing of their new 501 jeans and other stock provided the audience with a pause to process the previous collection. It’s difficult to make a interesting fashion week presentation out of high street wear and something that Levis struggles with.

They used better music than they did at their autumn show but the styling was still painfully lacking. They did manage to make everyone sit up and take notice at the end of their show though — Wasim Akram walked the ramp as their showstopper amid cheers from the admiring audience.

Somal Halepoto was next, with collection that looked distinctly amateur. She seemed to be aiming for a bright kitschy collection but ended up looking merely tacky. The shiny, synthetic-looking fabrics and gaudy embroidery were particularly woeful. Somal’s digital neon animal prints and some of the harem pants were funky but the rest of the collection had little to recommended it.

YBQ’s LalShah collection, meanwhile, was in a different league. An ode to 3 Sufi Sindhi saints, the collection was as much about the artistic impression it made on the ramp as it was about the clothes. The distinctly theatrical presentation relied on the slow beat of sufi music and plentiful accessories for much of its impact.

YBQ sent his models down the ramp in huge pagris, holding flags on poles and garlanded with prayer beads. He used only three colours - red depicting rage, white for peace and black for mourning. Most of the outfits were draped red jersey tunics or gowns with white lowers, braided belts and black turbans.

Rubya Chaudry wore a black gown with red roses but otherwise the outfits were all about subtle plays with drapery and cut. From jodhpur style chooridarsto asymmetrical draping, the outfits had interesting touches but needed all that heavy styling to make an impact. HSY was YBQ’s showstopper and added glamour to the theatrical presentation that he had choreographed.

Wardha Saleem was first up after the break and her Lotus Song collection showed how this talented young designer has been upping her game over recent years.

She used digital flamingo prints, 3D embroidery, gota embroidery and lasercutting in a pretty formal fusion collection. The detailing on the collection was simply stunning. Wardha used gota in delicate patterns that gave her outfits shimmer and paired this with three dimensional embroidery. The outfits featured flowers, fish, elephants and birds picked out in silk thread and beads.

She showed a variety of shift dresses, jackets, saris, capes and draped dresses. The styling was also great fun – the models wore shoes featuring spikes and 3D flowers while the multi-talented Tapu Javeri provided some gorgeous jewellery and music for the show. While there was nothing groundbreaking about her silhouettes, this was a beautiful collection that showed skill and artistry.

Sania Maskatiya, who presented her luxury pret on Day 1, now showed her lawn collection for AlKaram. As far as designer lawn goes, this is something of a dream collaboration.

Textile and print are Sania’s forte and she uses print extensively in her luxury pret. In this collection for Al-Karam she has taken print elements from her pret collections throughout the year including the Sakura, Lokum and Khutoot collections.

The prints are different from those used in her Luxe pret but are based on the same principals. She’s even used the paint splash embroidery from this season’s Khayaat collection in one of the outfits. Designer lawn should be affordable way to wear a designer’s aesthetic and this Sania Maskatiya Al Karam collaboration certainly is.

As for the show itself, showing lawn is always tricky on the ramp. Sania pulled it off with an upbeat presentation using fast music and trendy cuts, throwing a few conventional shalwar kameez in the mix. She fashioned the lawn into jackets, kaftans and draped tunic, using the sort of cuts that are a hallmark of her pret. It’s not how most people wear lawn but it was a great way to show off the prints on the ramp.

Naushaba Brohi’s Inaaya burst onto the fashion scene last year with a spectacular collection. Following up on a dramatic debut is difficult but Naushaba proved that she is not a one hit wonder with this collection. Inaaya’s SS15 collection continued with the theme of using traditional Sindhi crafts in contemporary wear. Naushaba used both touches of Rilli and some stunning mirror work in her collection.

What makes Inaaya noteworthy is the way that she takes unsung traditional crafts that we’ve seen badly used and gives them a high fashion twist. Standout pieces included a bolero with unusual mirror work and a rilli sari that glittered with tiny flashes of mirrors.

Although the collection included many beautiful outfits, there was a lack of focus. The simple tunic with a rilli dupatta didn’t work with knotted purple evening wear jacket. The inability to make a definitive statement let down an otherwise accomplished collection.

Naushaba added a characteristic touch at the end of her show. She’s committed to social responsibility and supports local craftswomen with her brand. Accordingly, Inaaya’s showstopper was Mashal Chaudri of the Reading Room Project along with Naushaba’s daughter Inaaya. She held up a plaque saying “I teach therefore I can” while Inaaya wore a T-Shirt with the slogan “super role model”.

HSY brought the evening to a close with a high-speed presentation of his Hi-Octance menswear collection. The unusual choreography featured the models zipping along the catwalk, pausing briefly on their second round. The energetic presentation complemented a collection of sharp suits and jackets, leavened with quirky polka dot shirts and bold stripy ties.

There was the requisite shirtless model in distressed jeans and an ice-blue jacket but also some appealing suiting fabrics. HSY used only Pakistani fabrics and included solid colours as well as self-checked and striped suits. This was wearable, classy menswear presented creatively.

Day 3 was undoubtedly the best day of TFPW so far. Iman Ahmed undoubted takes the laurels but she was ably supported by HSY, Wardha Saleem, Inaaya, Sania Maskatiya and YBQ.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/short-formal-dresses
judy smith May 2016
Don’t take them at face value. Several leading actresses in Mollywood have shown themselves to be keen businesswomen too. So, if Poornima Indrajith, a fashionista in her own right and designer-in-chief of fashion store Pranaah, was the lone name in the list till recently, Kavya Madhavan, Lena, Kaniha, Shwetha Menon, Rima Kallingal and the like too have joined the fray to establish their credentials as entrepreneurs.

While Kavya owns Laksyah, an online fashion store, Rima runs Mamangam, a dance school in Kochi. Lena is busy with Aakruti, her weight-loss centre. Kaniha’s focus is on health care, as a franchise partner of Medall Diagnostics in Chennai. Shwetha, meanwhile, has opened a restaurant, Shwe’s Delight, in Dubai. Mallika Sukumaran owns Spice Boat, a restaurant in Doha, Qatar… The actresses talk at length to MetroPlus about why and how they went about it, the lessons they learnt and what lies ahead.

For Kavya it was the realisation of a long-cherished dream; of starting a business venture while she is at the peak of her career. “I zeroed in on a fashion boutique from several other options, such as dance school, beauty parlour, restaurant…,” says Kavya. “It was the safest and best choice because my father had been in the textile business back home in Neeleeswaram for nearly four decades. My brother, Midhun is a graduate in fashion technology and my mother and my sister-in-law too share the same passion. Laksyah is really a family-run enterprise,” she adds. Laksyah, which sells a range of one-off designer saris and daily wear and based out of Kochi, will be celebrating its first anniversary next month.

It was a photoshoot that lead Lena to open Aakruti. She had to lose a few kilos to get in shape for the shoot and her childhood friend, Louisa David, a physiotherapist, helped her achieve that goal. “I was happy with my weight loss and so we decided to launch a physiotherapy-based slimming centre. Louisa has been running her centre at Thrissur for five years and she helped me start Aakruti, in Chevayur, Kozhikode, in September last year,” Lena says.

Kaniha, always a multi-tasker, has a solid reason for taking the health care route too. It was the closest she could get to her childhood ambition to pursue medicine! “After coming back to India from the United States, my husband, Shyam Radhakrishnan and I wanted to start something. Since I couldn’t fulfil my dream of becoming a doctor and had to study engineering instead, I thought I should do something related to healthcare and that’s how Medall happened,” says the actress.

In Shwetha’s case, her restaurant was a venture waiting to happen. “In fact, those who know me for long are not surprised with my decision to open a restaurant. I am an absolute foodie. I am so very careful about what I eat that my cook always travels with me on my shoots. I also love hosting family and friends and often hold pyjama parties at home. That’s why a restaurant was the obvious choice when I thought about starting a venture,” says Shwetha. Shwe’s Delight [“I was called Shwe by my friends in modelling circuit”], which opened its doors last month, is a North Indian fine dining restaurant. “I wanted to give expatriate Malayalis in Dubai a different taste from the usual fare. We dish up a bit of Chinese food too,” she adds.

Being a celebrity helps, most of the time, especially to get publicity, say the leading ladies. For instance, Kaniha says she could bank upon her celebrity status to get corporate tie-ups. They also talk of brand value going up when a known face opens a venture. “There is a certain level of trust with potential customers because you are a known face,” explain Shwetha and Lena. “On the flipside, you are always under scrutiny. At times, I feel acting is much easier,” adds Shwetha. Kavya says it is not easy being the face of Laksyah. “I can’t go wrong with what I wear!” she adds, with a laugh.

Celeb status and a pretty face, though, is no guarantee for a successful business. All the actresses say that they put in a lot of hard work to get their businesses up and running. “The execution part was not easy, be it finding the right location, getting the interiors done, purchasing the machinery, appointing qualified staff, training them and even finalising the colour of the uniform. But I have become more confident now that we are opening a new branch in Kochi,” explains Lena. Kaniha, meanwhile, admits that she has learnt to be “more patient and be diplomatic.” Well played.Read more at:www.marieaustralia.com/cheap-formal-dresses | www.marieaustralia.com/****-formal-dresses
judy smith Feb 2017
He has given a luxurious twist to the dying art of weaving and popularised the use of Khadi. Award-winning textile designer Gaurang Shah is more than happy that the Indian fashion industry has welcomed handlooms. “As a textile designer, I would like to say the Indian fashion industry has embraced handlooms with lot of admiration and helped revive our ancient traditions of weaving art, like the jamdani weaves, that we use in creating our fashion pieces,” Shah told IANS.

“It also reinforced its unparalleled beauty around the world,” he added. The designer says that one must acknowledge the passion and intense amount of production hours every weaver at the looms puts to bring out timeless pieces of handlooms.

“The fashion industry did contribute to bring them back into vogue in recent years,” he said. Shah showcased his latest collection of 40 garments titled Muslin at Lakme’s Fashion Week Summer/Resort 2017. His anthology for the gala was inspired by romance of nature.

Giving details about his range, he said: “Our collection incorporates weaves and techniques from West Bengal, Andhra Pradesh, Uttar Pradesh, Madhya Pradesh and Rajasthan. The amazing all-in-whites collections integrate gorgeous Mughal motifs and geometric patterns on Khadi, chikankari embroidery and Parsi gara.”

The designer’s collection involved 50 weavers working relentlessly for over six months. Shah, whose handloom creation made its way to the 69th Cannes Film Festival when Deepshikha Deshmukh, producer of Aishwarya Rai Bachchan starrer “Sarbjit”, stepped out in an ensemble featuring Paithani and Kanjeevaram details, says that handlooms are a glorious heritage of India and it is important to preserve and help the artists’ community grow.

“I would like to add that a few years ago this beautiful art was fading away. Thanks to persistent effort and motivation from label like ours, followed by the efforts of our Prime Minister Narendra Modi, that pushed Indian handlooms to higher level of acceptance,” he said.

Shah began his journey in the textile world with just two weavers and today the label works with 700 weavers, and the number is still growing.

“The biggest contribution we as a designer can make is to keep our artisans motivated and also help them gain confidence that it is a highly profitable profession,” said the designer, who has styled the stars like Vidya Balan, Sonam Kapoor and Kirron Kher.Read more at:http://www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/red-carpet-celebrity-dresses
JP  Jan 2016
SHOPPING..
JP Jan 2016
Shopping was the world first invitation to women,
a freedom to move out of her house. Initially,
Woman practiced shopping for vegetables and slowly
extended to garments/jewelry/white goods etc. Today,
the world has experiencing a better market due to
window shopping. The concept innovated by women,
the women who started window shopping has helped
the awareness of the market, The more the window shopping,
more the sales. The concept of window shopping  
helped the textile industries to understand about their products.
The textile industries has developed in terms of marketing
say readymade, exchangeable, trial rooms, gifts coupons
are coz of women. Its encouraged the women to do
shopping effectively.

Facts about shopping. Customer who shop with their friends
tend to buy more costly products than when they shop alone.
Next, In terms of clothing, General advises is to buy
one garment at a time coz If you buy few dresses, You tend the use
the first selected dress more than the others. Buying 'Take Away'
in (costly) restaurant was the blinder coz restaurant charge more
for the ambience less for the food. Using cash on shopping,
you tend to spend less and you bargain more. Don't increase
your buying to eligible for discount coupon.  A survey says
that 90% of the issued discount coupons are never redeemed.
Never shop on Discount Sale coz the best collection will be
taken off the shelf by the shopkeeper. The amazing fact,
If any one buy the best and costly clothes one size less than
the one normally uses, has brought down the weight
of that person.

— The End —