Third day’s the charm

The third and final day of PBCW showcased diverse colour palettes and sophisticated cuts.

Ayyan in a Tabassum Mughal outfit. PHOTO: ARIF SOOMRO/EXPRESS

KARACHI: Designers showcasing their collections on day three of the Pantene Bridal Couture Week (PBCW) took us by surprise. With diverse colour palettes and sophisticated cuts, most showcases had something unique to offer for every bride.

Fashion industry big wheels the likes of Deepak Perwani bedazzled us with their majestic silhouettes and clever colour combinations. However, that is not to say that there weren’t any fashion misses on the ramp. Be that as it may, the third day lent renewed impetus to an event that was on the verge of losing momentum after its mostly mediocre shows of days one and two. They certainly saved the best for last.

Nida Azwer

‘The Kothari Parade II’ collection was classic Nida Azwer. The use of deep tones of red, blue and purple in the line resonated Nida’s admiration for the rich cultural heritage of the subcontinent. She neutralised the vibrant colours with subtle shades of white, grey and brown. Playing with fabrics such as silk, masuri, brocades, French Chantilly lace and net, Nida stayed true to the taste of a bride who is careful to experiment. Although, we don’t encourage animal prints on wedding outfits, we could make an exception for the beautiful Mughal miniatures, and reindeer and horse-drawn carriage motifs on the ensembles. The collection constituted layered panel shirts, lehengas with jackets and net dupattas, which enhanced the regality of the collection — perfect for the traditional bride.

Asifa & Nabeel

Titled ‘Noor-e-Kuaar’, the collection was certainly a step up from what the cousin-designer duo usually showcases. An amalgam of contemporary and traditional designs, they used French Chantilly lace and minimal embroidery on mainly pastel-coloured fabrics. Discrediting the criticism that their work is gaudy, Asifa & Nabeel’s collection was visually striking. We weren’t particularly drawn towards their spin on darker shades such as red and purple. A good effort on their part, nonetheless.

Tabassum Mughal

Welcome to fairyland. Tabassum’s ‘Floral Tapestries/Embroidered Dreams’ collection was a trip to a world of Disney villains who have haunted us since our childhood. Though experiments are welcome in the world of fashion, the approach to bridal wear for a desi bride should be practical. Mixing high fashion with bridal couture isn’t a great idea, as was evident in her collection. With jamawar ensembles in colours such as parrot green and maroon, and heavy embroidery, the collection was gaudy and unflattering. The striking and abundant vintage roses on one of the ensembles were hard on the eyes. She used fabrics including net, chiffon and lace and the trending ombré technique, but didn’t utilise them effectively. Also, for a summer bride, we wouldn’t recommend dresses that are fully made of velvet.

Noman Arfeen

His collection seemed more apt for a bridesmaid than a bride. Primarily known for menswear, his women’s line was unimpressive and lacked creativity. The embroidery on his ensembles lacked finesse, the use of zari balls at the end of the dupattas, sleeves and neck was predictable, and the cuts were unflattering. His tea-pink outfits with kamdani and embroidery were pleasing to the eye, but were devoid of intricacy. With traditional wedding colours such as red, pink, blue and green, we believe he could have done so much more. The white and off white sherwanis for men, however, looked wearable.

Deepak Perwani

He was inarguably the man of the evening. Garnering the most praise from the audience, Deepak’s ‘Ottoman Odyssey’ collection was one of the best at the event. Inspired by the silk route and the subcontinent, his collection exuded regality. With incomparably flattering silhouettes, the line was a real visual treat. Interestingly, Deepak made use of net to enhance the puffiness of the cholis, which would look stunning on a bride walking down the aisle. He weaved magic through his collection, capitalising on each colour’s strength to create a mesmerising aura. He used the ombré technique skillfully in one of his pieces, where the colours effortlessly transitioned from peach to off white to red. He cleverly incorporated velvet into his collection. With gotta work and embroidery on organza fabric, among others, the outfits were laden with just the right amount of work – they were neither too heavy, nor too overbearing. ‘Mükemmel’, we’d say.


Although she claimed to draw inspiration from Lucknawi culture, it didn’t reflect in her collection. It wasn’t entirely eastern as it was expected to be. Mifrah showcased pieces that ranged from traditional ghararas to contemporary cigarette pants and kameez with a front slit – a little confusing, we’d say. Although diverse in terms of the colour palette that comprised hues of red, white, orange and brown, the collection didn’t stand out. While the hand embroidery was detailed, the cuts weren’t flattering. Mifrah has a good aesthetic sense, but it isn’t as evident in the execution of her designs.


‘The Orchid collection’, inspired by Hassan Sheheryar Yasin’s (HSY) favourite flower (the orchid), was signature HSY. Using radiant orchid, which is the Pantone Colour of the Year 2014, he tactfully created a collection that was well received by the audience. Although he played it safe, his collection epitomised his edgy take on fashion. The line also included outfits in other tones of purple and white. We weren’t fans of the theatrical performance, which took away from the depth of the clothes, but he did a fairly good job. Making use of intricate embroideries, gotta work and kiran lace, the collection is recommended for a modern bride who wishes to keep it traditional on her wedding events.

A slideshow of Day 3 of PBCW can be viewed here.

Published in The Express Tribune, May 13th, 2014.

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Stranger | 8 years ago | Reply Does any one wear Sarees any more in Pak today ? Bring them back.
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