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

For the fifth year in a row, Kering and Parsons School of Fashion rolled out the ‘Empowering Imagination’ design initiative. The competition engaged twelve 2016 graduates of the Parsons BFA Fashion Design program, who "were selected for their excellence in vision, acute awareness in design identity, and mastery of technical competencies." The winners, Ya Jun Lin and Tiffany Huang, will be awarded a 2-week trip to Kering facilities in Italy in June 2016 and will have their thesis collections featured in Saks Fifth Avenue New York’s windows.

The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.

In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.

Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.

The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.

The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.

These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.

With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.

Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.

Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.

The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.

However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.

Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.

Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.

While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney

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(man enters a tavern)
I'd like a room and a bath please

(tavern keeper)
a room I can do, but, a bath, totally out of the question

(man)
your sign says "rooms with baths", and I would like a room with a bath, as advertised

(tk)
you aren't from around here are you?

(man)
no, why?



(tk)
I thought not, so, I will say this slow...A room I can do, but a bath is totally out of the question

(man)
there is no need to take that tone with me. I made a perfectly legitimate request, as per your signage, and you take umbrage with me.

(tk)
I did not, and besides, I can't take it, if I don't know what it is. Hold on one minute....(walks outside, grabs a shovel on the way out...knocks sign down).

(tk)
(upon re-entry)....now, about that sign you said you saw. I believe you were mistaken.

(man)
this is the "three rivers tavern" as per the sign, which I assume is no longer hanging out front.

(tk)
It is, and your assumption is correct...it isn't

(man)
so, being the "three rivers tavern" would there not be three rivers in the proximity of this establishment from which you would be able to draw water for me, a bypasser, to get a bath

(tk)
yes...and no

(man)
what kind of an answer is that?

(tk)
Yes, it is the "three rivers tavern" and no, there are not three rivers in close proximity of this establishment from which I, a humble tavern keeper, and former owner of a sign, advertising, falesly, I might add...the presence of a bath in this establishment.

(man)
you are called "three rivers tavern" yet, there are no rivers nearby.? what kind of advertising is that?

(tk)
firstly, the sign was already made up, so, it was cheap. Secondly, who are you to question the name of my establishment, which I might add, is quite famous  in the region for many things, other than it's name, which, we may now be changing due to the sudden loss of our sign.

(man)
I sir, am Robin Hood of Sherwood.

(tk)
your'e not

(man)
I am. I am Robin Hood, Sir Robin of Loxley, if you please.

(tk)
I repeat...you're not. Not in those tights.

(man)
And what is wrong with my tights?

(tk)
Seriously? Do I really have to tell you that?

(man)
Yes, what is wrong with these tights?

(tk)
First off, Robin Hood, The REAL Robin Hood wouldn't be caught dead in those. Baggy, Saggy, there's leaves on them, holes...Robin Hood would have nice tight tights that were in good kip and accentuated his....

(man)
*******!

(tk)
exactly

(man)
No, I mean, how would you know what Robin Hood would wear? I mean, what I would wear? The condition of these tights helps me keep incognito in local archery competitions. If I went around showing ...

(tk)
*******!!! INCOGNITO? You are no more than a wayward traveller trying to get a free room on the reputation of someone else, namely...Robin Hood

(man)
My good sir, these are old, tights, ripped from swinging through the trees over time.

(tk)
If you are Robin Hood, tights or not...prove it to me. I'll give you the room, and go for the water myself.

(man)
How should I prove it, with no arrows, bow, and apparently no weaponry in sight. How do I go about showing I am Robin Hood?

(tk)
Use mine. Yep...use my bow, and I dare you to...to...shoot an apple off of his head over there. Oy....wake up. Catch (tosses an apple to man in the corner)
Put that on your head...he's gonna shoot it off.

(man in corner)
He's gonna what? off my...no he's not.

(man)
No, I will not. You obviously have me confused with William Tell. He's Swiss, they do things differently over there.

(tk)
You will, or you won't get your room

(man)
And if I should miss, what then?

(tk)
Not a problem. I've got lots of arrows and apples. We can just keep trying.

(man)
I mean HIM, what if I hit HIM.?

(tk)
You won't if you are who you say you are, and besides, I said I've got lots.

(man in corner)
But I'm your brother in law

(tk)
I've lots of those too. Now, here (hands arrow and bow to Robin)
Step back 10 paces, I'll open the door, and you....put that apple up.
One shot...hit the apple,....room and a bath....miss, and it's off with you

(man)
I really don't think...

(tk)
shoot or leave. Or...I can call the sherrif. If you are Robin Hood, he'll certainly want to see you.

(man)
Fine, give me those. (walks back 10 paces as the tavern owner opens the door).
(He fires, splitting the arrow in two, as the man in the corner slides to the floor)

(tk)
ROBIN!!!! Why didn't you say so? I knew it was you all the time. What can I do for you?

(Robin)
First, pick him up. Next that room. Then I have some requirements, that I need not be tested on. A bow, arrows, clothing, footwear. I need to look the part at the tournament coming up, when I do the big reveal, and I need the proper equipment. You, will help me with that, and seeing as how I have little to no money, as I said, I will need to put this on account which I will pay after the tournament.

(tk)
credit? You want credit?

(Robin)
Yes, as you can see, I am good for it.

(tk)
I saw you shoot an apple off a mans head from ten paces, not...win an archery competition with archers from all over Europe. CREDIT?

(Robin)
Here, hold this apple.

(tk)
Right, First things first...bow and arrows!!

(Robin)
I shall need to see the fletcher.

(tk)
that would be baker

(Robin)
No, I need a bow and arrows. I need a fletcher

(tk)
Exactly, Baker

(Robin)
I am at a loss. I need to see a fletcher and yet you keep saying Baker

(tk)
Right, The Fletcher is Baker. That's the man's name. You need to see Baker, the fletcher.

(Robin)
I see....I think. So I see the baker.

(tk)
You see the fletcher

(Robin)
Baker

(tk)
exactly

(Robin)
that's what I said.

(tk)
No,you said the baker

(Robin)
That's what you told me.

(tk)
No, I did not. I said The Fletcher was Baker. That's the mans name

(Robin)
Baker

(tk)
Now,you have it

(Robin)
Assuming I get what I need from the fletcher. I need a tailor.

(tk)
pastor

(Robin)
No, I do not need to see a pastor, I need a tailor

(tk)
That's the man's name. Pastor is the tailor

(Robin)
So, the pastor is the tailor

(tk)
No, Cooper is the pastor, pastor is the tailor.

(Robin)
I don't need a cooper, I need the tailor

(tk)
exactly. pastor

(Robin)
So, let me see...I go to see the pastor and the fletcher

(tk)
No, you see the tailor, pastor and then the fletcher

(Robin)
The Baker.

(tk)
Listen closely, or you'll never get your room. You see Baker the Fletcher and Pastor, the tailor. Not, the baker and the pastor. You keep getting mixed up

(Robin)
I'll need to write this down
Ok, for footwear, Cobbler

(tk)
Butcher

(Robin)
The butcher makes shoes too.?

(tk)
No. Butcher is the cobbler

(Robin)
That's what I said

(tk)
Look, it's dead easy, you go to see Baker, Pastor and Butcher and you'll be set

(Robin)
I'll end up with bread , a bible and meat. How does this help me in an archery competition?

(tk)
No...you see baker the fletcher, pastor the tailor and butcher the cobbler. It couldn't get any simpler

(Robin)
Maybe I don't need that room after all.

(tk)
follow...fletcher baker pastor tailor butcher cobbler. then back here.

(Robin)
No...I think maybe....is there another village close by.

(tk)
Yes, on the other side of the three bridges

(Robin)
Which, as we know, do not exist

(tk)
And...they speak Welsh!!! your choice

fade out

My technology nightmare
Leaves me euphoric this morning.
Addicted, like drug trials,
I knew the risks going in,
Got hooked in The Cloud &
Now it always seems easier,
With diminished psychic chafing
Whenever I go with the flow, as the
Hipsters are saying again.
Yes, the hipsters:
Finally, some kids I can relate to.
At least on some level, their music e.g.
The first thing I did this morning,
Waiting for my laptop to boot,
Was put a CD on the stereo:
Matrix Reloaded: The Album.
I set the shuffle function,
Looping back between
Linkin Park’s Session &
Team Sleep’s Passportal.
You can tell a lot about
What kind of day it will be
By the soundtrack you choose,
Your infinite play list,
Don’t ever say these kids have no culture,
Or nothing to share with us old farts.
Old Farts: an apt, Baby Boomer term in 2015.
Kids’ music, some of it quite good,
Quite 60s-worthy if you catch my drift,
As we used to say while grazing in the grass with
Hugh Masekela & his Naai Mongoe-Swazi red,
Surfrikan homeboys & band mates, & that
ANC Kwa-Guqa Township posse,
Shadowing him since Sharpeville.
That’s right, Babaloo,
Go with the flow.
Don’t fight it. You’ve been spared the unintended
Consequences of government shenanigans &
Free market meltdowns.
Consider this a CEASE & DESIST NOTICE:
Cease swimming upstream Mr. Phelps.
Desist fighting tide & current, Michael.
A mariner’s distinction, yet serviceable &
Purposed for this narrative.
“And away we go,” croons a Gleason levitation;
Aloft we go into the wild blue yonder.
The Cloud: an exalted playground.
You are atop the slide,
Kindergarten lord of all you survey,
Sultan, Chinese Emperor & Venetian Doge,
A 90-caliber Duke of Earl,
You are euphoric, Mike.

The descent into the humanoid condition
(See Paddy Chayefsky’s Howard Beale),
Is slick and precipitous.
It begins when you first finger ****
A pocket calculator or touchtone phone,
Or use a Xerox machine.
From there it’s a quick slide down
The technology ****-shoot: video games,
Spreadsheets & word processors,
Emails, texts & tweets,
Laser projection keyboards,
Wi-Fi amplifiers,
GPS navigators, &
Apps for No-Strings *** . . .
By “****-shoot” I editorialize, of course,
In a state of future shock,
Resenting planned obsolescence,
Contemptuous of shrewd **** kids,
Wharton School sharpies,
Scoping out price curves & flowcharts,
Colluding at industry trade shows,
Powwows & confabs,
Releasing newer, more versatile
Models & spinoffs, according to a
Scheme planned three years in advance.

I salt the inevitable wounds of technology,
Taking my fight to the streets, realizing too late
My sole means of alerting the flash mob
Is by so-called smart phone,
*******!
Even the revolution has gone digital.
Poor Gil Scott Heron, dead last year at 62,
Poor Scott Heron, channeled into the
Harlem Renaissance by that loyal Chicago Defender,
Subscriber & reader, to wit: his Grandma,
A “Rainbow Conspiracy” co-conspirator,
Cooking ham hocks & collard greens for that
Mythical coalition of Young Lords,
Black Panthers & SDS.
Heron’s prognostication was wrong:
“The Revolution Will (In Fact) Be Televised!”
We’ve witnessed quite a bit of it,
Lately, prime time lately,
Live by satellite from once exotic places,
Places like Tunisia, Egypt, Libya, Syria & Ferguson, MO.
I say “once exotic” because it’s hard to be
Visually intoxicated by images of screaming brown men
Sporting New York Yankee ball caps,
“Vote for Pedro” T-shirts and
$200.00 Air Jordan footwear.
Admittedly, the production values of
Revolutionary journalism have improved,
Action reported Hollywood-style,
Narrative arcs, scripted episodes,
Drive-by Potemkin villages & battle scenes,
30 or 60 or 90 day shooting schedules.
Spontaneous proletarian uprisings as Reality TV,
Riveting dramas,
High Nielsen ratings & $500K
Per minute corporate sponsors.
Let’s view the new fall line-up:
(1) “Mustafa Behaving Badly!”
(2) “Tunisian Tear Gas Talent!”
(3) “Gaddafi Gets Sodomized!”

To be a good writer or a poet
You have to be good at wearing shoes other than your size
Size 1, 2, 3, up to size 10
Even if it falls off your feet or too tight, you just have to try

Not only shoes, also all other kinds of footwear
From socks, sandals, flip flops, and slippers
High-heeled, boots, flippers and sneakers
Even barefooted, if there's nothing else to wear

Then, walk with it, run with it
Feel the calluses and feelings it brings
Up until its soles are wearing thin
Then, write the experience

Cinderella had her slipper, which was made of glass.
Something so small, yet, so delicate.

And I, much like Cinderella, have something made of glass.
Something so small, yet, oh so delicate.

It’s my heart.

And I think the clock just struck Midnight.
But only one of us can get our happily-ever-after.

And here’s a spoiler:

*It’s the broad with the wacky footwear.

The myriad of possibilities
enliven my ******* semantics
somewhere to go when
my slippers tell me not to

The words that i exhale
are the engine that fuels imagination
something to sustain when
my noggin is void

The vibrancies that rattle me
attribute to the found experience
somehow they strum
when my heartstrings are mute

The mountains that topple me
serve demise to my slippery friends
someways i have adapted
now i listen to blue boots

As the sun rose up and the stars came down,
Morning dawned upon the town,
but the darkness didn't fade, as something came along,
To finally right the drought's wrong

Temperature dropping, birds chirping,
Thunder roared, as the aves beat wing after wing,
The scent of fresh mud clouded our nostrils,
and the crashing of water droplets had our ears filled

We ran as our footwear pounded the drenched land,
Only to notice the street dogs huddle under shelter,
Shaking themselves to get rid of body sand,
and expose their glossy fur

Soon enough, mother nature ended the delightful downpour,
Leaving us craving for more,
but the best part is the fact that monsoon has just begun,
So leave a smile on that face, for things are still great without the sun!!

bespeckled, blotched & blokey
feminine in aspects
only little ****** hair patches
two chins,
or rather a sloped one
the front evenly declining to the middle of the throat
a gradual ***** from the tip, for juices to run if his manner and situation allowed him to be as casual and sloppy as his laziness chose,

torso without form, so there was no curvature on the buttocks or the fly region.
a mass
a blob of bulges on spindly legs

he leans on the wall
stubby in hand he balks
(he means jovial but unintentionally he vocalises mockery)
at the suggestion that the Pies will do better
& that Eddie is a clever man due for thanks, who has done his club well (apparently a straight Aussie arrow tried and true!)

the man ***** his head back & cackles
(the trebly popping bubbles of a gala crackle outwards as the man cackles)
& decides his arms need a rest,
(a long day of up and down they have had indeed, they deserve respect, or rest (or a benching))
  so he places his beer down
on a sloped surface,
& therefore it slips down….

he sees it plummeting, he stretches toward it's tragic trajectory,
…..but he is too slow
it smashes
on his foot (the shards) the beer bottle it transfigures,
and the shards they impart their misery on his toes.  
The shards they intrude on his relaxed state of wellbeing, they intrude on the security sanctioned within the casual footwear of a man at a barbecue; taking it easy.
he swears and hops, reaching in indignation for his bleeding toes
he holds the wound cursing; resisting the impulse to begin convulsive throws
(an oscar worthy performance from a usually suburbaly urbane individual)

the moisture feels degrading
(as it would within a man's pants)
the pain from the cuts it is worsened
by the smirking gazes of others about

he hobbles, disregarding his thong in the wreckage of the scene

off to retrieve a band aid
to mend his ego
and his foot
simultaneously